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© 1988 Poromount Pictures Corporation. AM Rights Reserved. STAR IRK ts a Registered Trademark of Paramount Pictures Corporatior, . 

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Epic battles were planned, but 
will they ever happen? 


When Charlie Fleischer talks, 
Toontown listens 


Between serials & Superman, 
Phyllis Coates led a thrilling life 


Jean-Claude Van Damme gets 
his kicks in the future , 

Sporting villainous fashion, Brian 
Croucher pursued "Blake's 7" 


Among the cocoons, Bob Short 
adds the special to the effects 







As Baltar, he gladly betrayed 
"Battlestar Galactica" & humanity 


He survived "The Search for 
Spock" to serve on "Night Court" 


Diplomacy is second nature for 
one of "The Munsters Today" 


From "The Outer Limits" comes 
a memorable "Soldier" 


Mark Lenard, William Campbell & 
Tige Andrews buckle & swash 


His "Heart of Glory" belongs on 
the "Enterprise" bridge 

Cyborg— Page 53 










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JANUARY 1989 #138 

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Digging For Gold: Part 2 

Last month, I began discussing how to answer the question, "What am I 
interested in doing?" I explained that people who do not know the answer to 
that question are not necessarily people without values — they are probably 
people who have hidden their personal values deep within their subconscious. They 
have protected the things which they treasure most from harm by others, and they 
have done such a good job of it that when the question arises as to what they want 
to do in life — they answer truthfully, "I have no idea." 

I also explained that this is a problem which hits people with offbeat values 
especially hard — people like science-fiction fans. 

Fans are fascinated with exploring outer space and the world of tomorrow — realms 
which many people consider foolishly removed from reality. Fans are in love with 
fictional heroes, alien creatures, even grand villains — loves which appear to the 
mainstream as laughable or sick. Fans are fascinated with futuristic inventions, 
technological experiments, unearthly cultures and far-out theories of science and 
philosophy — just the kind of strange fascinations which alienate those of us in the 
science fiction universe from the average Jacks and Jills. 

In order to feel comfortable in society, we hide those strange fascinations — and 
bring them out in the open only when it's safe — like at a science fiction convention. 

But if you want to get to know yourself by digging out these strange fascinations, 
you must not be afraid of the rest of the world. You must be willing to face your 
true essence — no matter what bizarre values you uncover. Before you begin digging, 
you must create the attitude within yourself: "If it is mine, it is good!" You cannot 
censor yourself — you cannot condemn yourself — you cannot be hesitant or fearful in 
your search. 

What you're digging for is not a convenient answer. You are digging for the 
truth — the gold buried within you. The attitude of accepting anything you find, is the 
key to opening the door of your subconscious. 

Next, you must establish a friendly relationship with yourself. You need to ask 
yourself questions — and then you need to answer them. You need to hold a conversa- 
tion with yourself. You can write it, or you can talk it — but it must be real dialogue, 
using words to form full sentences! Don't worry — you aren't crazy. Talking to 
yourself is an excellent way to get to know the human you are. 

Your first question to yourself should be something like, "Hey, Kerry, tell me 
about something you've really enjoyed. It doesn't matter how small or how silly. Just 
try to remember something which gave you a deep sense of pleasure — a feeling that 
the world is a wonderful place — or a powerful feeling of any kind, positive or 
negative. Kerry, describe it with all the emotional details you can remember. Feel it 
freely. Relax and talk about it, while you relive it." 

Perhaps you'll remember a movie, or a character from a movie, or a scene from a 
movie, or a line of dialogue which jumped out at you like a crash of cymbals. 
Perhaps you'll remember a game you played, or a hobby you got involved in, or a 
vacation when you did something for the first time. Perhaps you had a pet dog 
whom you loved, or a summer garden which you tended, or a childhood friend who 
was the only person in the world with whom you could share your inner thoughts. 

Perhaps there is a piece of music which always makes you cry. These memories 
don't have to be all happy. Any emotional experience is worth remembering and 
discussing with yourself. Perhaps you walked past a computer store one day, and 
when you looked in the window, you saw a clean, logical world which made you feel 
like you wanted to be living on the other side of the glass. Perhaps you read a 
magazine article once, and the ideas were expressed with such evocative clarity, that 
you trembled at the power of words. 

Keep digging within your memories. Each one of these emotional experiences is pure 
gold — no matter how impractical they seem — no matter how painful — no matter how 
insignificant. Each is a clue as to the kind of things which matter deeply to you. 

Then, after many talks with yourself, list the abstract ingredients within each of 
these experiences and discover what is important to you — what values you have 
acquired. You will also discover what distinguishes you from all those other humans. 
Then, you need to translate your most important values into a field of interest — a 
career, so to speak — to which you can devote yourself completely, and joyfully. 

Only when you derive what you want to do out of what you love, will you discover 
the direction necessary to make you a happy human. Only the gold buried within you 
can create the sunshine of your life. 

And when we create our own special sunshine, dear friend, each of us brings the 
ideal world of the future into the present. 

— Kerry O'Quinn/ Publisher 


Because of the large volume of mail 
we receive, personal replies are 
impossible. Other fans & advertisers 
sometimes contact readers whose let- 
ters are printed here. To avoid this, 
mark your letter "Please Withhold My 
Address." Otherwise, we retain the op- 
tion to print your address with your let- 
ter. Write: 

475 Park Avenue South, 8th Floor 
New York, NY 10016. 


... I read the most recent issue of STARLOG 
(#136), and I hope you will run this letter in 
response to the article on Jerry Sohl. 

Mr. Sohl is certainly a talented writer, however I 
believe 22 years has blurred his recollection and 
caused him to "misremember" certain facts in 
regard to "This Side of Paradise" (my title — Mr. 
Sohl's title was "The Way of the Spores"). For- 
tunately, I keep all my notes, memos and all ver- 
sions of scripts in my files for reference in just such 
cases as these. Mr. Sohl never sat down with me 
and Gene Roddenberry to go over the script 
because at the time he began the story, I was still 
only Gene's executive secretary; in that capacity, I 
was not allowed to sit in on story meetings with 
writers. The story editor he met with probably was 
Steve Carabatsos, who took over that position 
when John D.F. Black left in early September to do 
a movie. 

Mr. Sohl's first draft script on "The Way of the 
Spores" is dated October 11, 1966. At that time, 1 
had left Star Trek to write freelance and was work- 
ing at home on the story outline for "Tomorrow is 
Yesterday" (turned in October 3) and first draft 
script (turned in October 10). I delivered my second 
draft script for "Tomorrow" on November 9. 

During the month between, Roddenberry decid- 
ed to replace Steve Carabatsos as story editor. The 
reaction to "Tomorrow is Yesterday" was good, 
and Gene approached me with the proposition that 
I rewrite "The Way of the Spores." He told me if I 
could do this quickly and to the satisfaction of the 
network, the studio and himself, he would back me 
for the job as story editor to replace Carabatsos. I 
restructured the story (retided "This Side of 
Paradise") and turned it in November 16. It met 
with approval from all involved, and I went on to 
deliver the first draft script December 9, the final 
draft on December 15, and joined the show as story 
editor approximately a week after that. 

I must point out that Spock being allowed to be 
a loving, caring, cherishing human being was my 
idea, not Mr. Sohl's. In "The Way of the Spores," 
Spock is taken over near the end of the second act, 
and his only two lines about how he feels are: "I 
feel. . . for the first time in my life. . . I— belong" 
and "I am no longer — lonely." At the end of the 
script, Spock says, "Captain ... on that planet, for 
the first time in my life, I was completely happy." 
These are the only references to Spock's feel- 
ings — and the love story was originally a sub- 
subplot involving Sulu and Leila Kalomi. I was the 
one who made it a major plot point involving 
Spock and Leila and brought all Spock's emotions 
into play. Mr. Sohl's spores resided in a cave to 
which "hosts" had to be brought in order to be in- 
fected. The only ones immune to their influence 
were those with AB blood (including Kirk and Mc- 
Coy who were never taken over at any time) or 
those with high alcohol content in their blood (a 
drunken crewman). To combat the spores controll- 

ing Spock, Kirk had to engage him in a fist fight 
and force brandy down his throat, getting him 
drunk enough to come back to normal. Obviously, 
I changed all these elements at the request of my 
producer, but the studio and network hadn't been 
happy with them either. 

No one likes being rewritten. Most writers don't 
like to do rewrites. I was hired to do a rewrite in 
order to qualify for the story editor's job and to 
change a script which did not meet the expectations 
of the studio, the network and the producers. I did 
that job to the satisfaction of those people — and 
most audiences, if the reaction to the script all these 
years is accurate. And just so no one thinks I'm 
making all this up, I've enclosed for STARLOG's 
editors' reference copies of Mr. Sohl's script of Oc- 
tober 1 1 and my story outline rewrite of November 
16. Anyone care to vouch for the changes I made 
and contributions I brought to "This Side of 

D.C. Fontana 



. . . Mike Clark's article featuring Marta Kristen 
(issue #135) was wonderful — the photos are fan- 
tastic. Kristen is as beautiful today as she was 20 
years ago. 

I feel I am somewhat of an anomaly in the world 
of SF because I love both Lost in Space and Star 
Trek. I feel that you can't compare them equally 
because they were (and are) two different styles of 
shows. Lost in Space is the first show I remember 
watching as a small child (during its original airing) 
and to this day, I quote it, have many photos on 

my walls, and constantly try to catch reruns 
(although it isn't often aired in my area). I hope 
Kristen succeeds in rousing Irwin Allen and her 
fellow cast members into a reunion show. Other in- 
terviews have left the impression that she wasn't in- 
terested, but since the show still has many, many 
faithful fans, Kristen must realize how important 
Lost in Space is to them. 

My question is: Will Lost in Space episodes ever 
be released on videotape as Star Trek has? Let's 
hope so! 

Jamie Alley 

Martha's Vineyard Island 

P.O. Box 95 

Menemsha, MA 02552 

(continued on page 14) 

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Robotech II: THE SENTINELS" has never 
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Highlights Include . . . 

• New invid mecha (the inorganics), as they lay 
siege to the Robotech Masters' homeworld. 

• The introduction of major new characters, in- 
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• The experimental Alpha and Beta fighters in 

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• Action packed animation. 
Running Time: Approx. 76 minutes 


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While science fiction is flourishing this 
season in first-run syndication with 
Star Trek: The Next Generation, War of the 
Worlds and the new Twilight Zone, the net- 
works still don't like the genre very much. 

They have two good reasons for not liking 
SF — bad ratings and big price tags. The air- 
waves are littered with disastrous and expen- 
sive SF series, from Battlestar Calactica to 
" V, " that rarely last a season . Even the cheap 
ones, like Otherworld, can only hold a 
minuscule audience. 

What does work on primetime is the cop 
shows. Which is why the majority of SF- 
themed series that have survived — like In : 
credible Hulk, Six Million Dollar Man and 
Beauty & the Beast — have had strong law en- 
forcement elements. And that's why the ma- 
jority of proposed SF series for this season 
were tinged with familiar cop show themes. 
Still, only one of the SF concepts offered this 
year, NBC's Something is Out There, made it 
onto the original fall schedule. Another, 
Cyberforce, about a team of Robocops, is 

still on tap at ABC for mid-season, as is 
(reportedly though not definitely) Why on 
Earth? with Chris Makepeace, George (Max 
Headroom) Coe and Hilary Edson as alien 
beings visiting here to observe man. 

Two of the busted pilots, like Something is 
Out There, revolve around alien bad guys 
showing up hereabouts. In Meganauts, from 
Innerspace writer Chip Proser, two alien cops 
(William Bumiller, Shanti Owen) pursue a 
vicious criminal (Page Moseley) to Earth. 
The aliens look just like humans, the only 
problem is they are microscopic — which 
forces them to attach themselves to people, 
dogs, birds, frogs or anything else for 
transportation, and to communicate with 
humans via holographic imagery or hooking 
up to a TV screen. Lewis (The Hitchhiker) 
Chesler was executive producer for 
MGM/UA Television and CBS. 

Martin (Cagney and Lacey) Kove is an 
anti-social alien sentenced to death until he is 
spared for a new experiment in criminal 
penalization. He's surgically transformed in- 
to the most hideous looking creature in the 
cosmos — man — and sentenced to Hard Time 
on Planet Earth, where he will be exiled until 


But in glorious black & white! (as pictured here) when famed science-fiction hero Leslie 
(Forbidden Planet) Nielsen returns as Frank Drebin, the courageous (though comedic) 
detective of TVs short-lived cult classic sitcom Police Squad! This Year's Episode: "The 
Naked Gun." Special Guest Stan Charles Laughton. Police Squad! opens in a theater 
near that laundromat on 1-40 on December 9. 

his Tinkerbell-like probation officer, who 
comes with him, decides he has been 
rehabilitated. It's a CBS pilot from Predator 
screenwriters Jim and John Thomas, who 
were also executive producers for Disney 

In the NBC pilot Out of Time, Bruce Ab- 
bott is a rogue future cop, living in the 
shadow of his long-dead, famous granddad, 
who chases a notorious criminal 100 years in- 
to the past, to Los Angeles circa 1988. The 
future cop ends up teaming with his great- 
granddaddy, then an under-appreciated 
rookie officer, to find the bad guy and fight 
crime. Robert (Star Trek: "The Cage") 
Butler, was director and executive producer 
of this Tri-Star Television production. 

Lewis Smith (STARLOG #87) of 
Buckaroo Banzai fame, has struck out in 
genre projects two years in a row. Last 
season, he starred in an ill-fated attempt to 
remake Man Who Fell to Earth as a TV 
series. This time, he starred in Badlands 2005, 
the story of a U.S. Marshal and his cyborg 
partner (RoboCop's Miguel Ferrer) who 
patrol the now-barren American West in a hi- 
tech car. Rueben (Downtown) Leder created, 
wrote and produced the one-hour pilot for 
Columbia Pictures Television. 

New World Pictures used a revival of The 
Incredible Hulk as a ploy to launch Thor, a 
proposed series starring Steve Levitt as an an- 
thropology student who discovers a magic 
hammer which allows him to conjure up 
Thor (Eric Kramer),- a beach bum-like 
thunder god, who he teams with to fight 
crime. Nicholas (Outlaws) Corea wrote, pro- 
duced and directed the NBC pilot (see COM- 

Alumnus of Monty Python were busy this 
pilot season, pitching a few SF projects that 
had nothing to do with law enforcement, but 
which covered old ground nonetheless. In 
NBC's sitcom Ghost Story, Eric Idle is a 
ghost who, with his wife, haunt their old 
Seattle home, now inhabited by a col- 
lege professor and his family. Graham Chap- 
man, meanwhile, co-wrote, produced and 
co-starred in Jake's Journey, the Time 
Bandits-ish story of a teenage boy (Chris 
Young) who discovers a portal into a 
medieval fantasy world where he befriends an 
irascible knight (Chapman). Hal Ashby 
directed the half-hour fantasy/comedy 
which, due to the writers' strike, got drafted 
for eventual airing on CBS. 

CBS, meanwhile, considered a sitcom, 
Mars Base One, similar to The Jetsons, from 
Saturday Night Live alumnus Dan Aykroyd, 
about a family adjusting to life on Mars, 
where they live next door to a Soviet techni- 
cian and his American-stripper wife. 
Aykroyd wrote and produced the pilot for 
Mebzor Productions. 

—Lee Goldberg 

8 STARLOG/7a/Hran- 1989 


They've put Sgt. Rock on ice. The film 
version of the DC Comics war hero was 
to have starred Arnold Schwarzenegger, 
reunited with his Predator collaborators, 
director John McTiernan and producer Joel 
Silver (who together made the 1988 hit, Die 
Hard). And shooting was scheduled to start 
this fall. It didn't. 

Numerous reasons are being cited. 
McTiernan apparently wanted a 
rewrite — which there wouldn't be time for 
because Schwarzenegger had to finish Rock 
by a certain date before starting his next 
movie (planned to be the SF adventure Total 
Recall). Silver reportedly wanted a cast of 
well-known faces in every role from extras 
to co-stars (a la The Dirty Dozen) — which 
would have increased the budget a bit. And 
Schwarzenegger allegedly wanted to make 
the entire movie in the U.S. (so as to remain 
near his wife Maria Shriver, according to 
New York magazine) — which wouldn't have 
been easy since Rock was slated and 
budgeted for location lensing in Spain (with 
some later possible shooting in Montana). 
Rock may get reactivated for filming next 
year — with or without Schwarzenegger, who 
has numerous other projects announced and 
contemplated (besides Total Recall, they in- 
(continued on page 22) 


Comedy is the key when a human guy (Dan Aykroyd) encounters (and weds) a maybe- 
not-so-human gal (Kim Basinger), thereby causing his daughter to conclude My 
Stepmother is an Alien. The comedy, directed by Richard (Quark) Benjamin, premieres 
this month. 


All dates are extremely subject to 
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are reported in Medialog "Updates." 

December: My Stepmother is an Alien, 
Chances Are. 

January: Warlock, Parents. 

February: The Fly II*, Deep Six*, Com- 
munion, Dream a Little Dream. 

Spring 1989: Second Sight, Millennium, 

The Adventures of Baron Munchausen*, 
Spider-Man*, Nightbreed*, Leviathan*, 
The Witches. 

Summer: Ghostbusters II*, Back to the 
Future II*, Indiana Jones & the Last 
Crusade, Star Trek V: The Final Frontier, 
Batman, The Abyss, License Revoked, Hey, 
Honey! I've Shrunk the Kids*, The 

Winter: The Little Mermaid, Strat. 

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The Shape of wars to come 

Have "Captain Power and the Soldiers of the Future" fought their 

final battle? Or do others still await them? writer Larry DiTillio 

hints at skirmishes that might yet be. 


Larry DiTillio has a tendency to let his 
already fertile imagination run par- 
ticularly wild when it comes to Cap- 
tain Power and the Soldiers of the Future. 
But DiTillio, who served as story editor for 
much of the TV series' first season, does 
know his limits. "J 

"Just look at that battle scene," he ex- 
claims as he points to a splash panel from 
Continuity's Captain Power comic book. 
"We would never be able to do a battle 
scene like that. And this dialogue. We could 
never say, 'Eat this, suckface.' " 

He's doing his litany of "I wishes" during 
an early afternoon conversation in his Los 
Angeles home. Scattered across a table are 
color slides, comic book panels and 
magazines, publicity materials that became 
artifacts this year when, after the death of 
Pilot and the destruction of the Power Base 
in the season-finale, "Retribution," the 
money men did what Lord Dread couldn't 

10 ST ARLOG/ January 1989 

do. They killed off Captain Power and the 
Soldiers of the Future. 

DiTillio is obviously a man in the middle 
in regards to Captain Power's future. He is 
getting on with his writing life and has snag- 
ged a pair of script assignments for the 
animated Superman series (COMICS 
SCENE QUARTERLY #5). He also has a 
couple of series ideas making their way 
down the bumpy road to development. But 
the very real possibility that Captain Power 
may get new financing and a second life sits 
perched on his shoulder — as do the events 
that led to the show's demise. 

"We already had a second season in the 
works," reports DiTillio of a work spurt 
that hit high gear in November 1987. "I had 
updated the show's bible to reflect new 
directions we were going in to keep the show 
fresh. Everything was hunky-dory." 

Until January 1988. 

"We were starting to hear rumors that 

Mattel was getting ready to pull out. I told 
the writers of the 18 scripts that had been 
assigned for the second season [down from 
an initial order of 22 because Mattel felt they 
could effectively strip the show for syndica- 
tion with 40 episodes] to hurry up and finish 
them so they could get paid //"there was no 
second season," recalls DiTillio. 

DiTillio cites several teasons for Mattel's 
cutting off the show's funds: Mattel's tie-in 
toys didn't sell up to expectations, parents' 
group charges that the show was too violent, 
and having to shell out Screen Actors Guild 
and Writers Guild residual payments 
because Captain Power was live action. 

"It could have been any or all of those 
reasons," laments DiTillio, "but the bottom 
line was that in January, we were informed 
that there would not be a second season." 

However, there would be a second 
season's worth of scripts, written by 
DiTillio, Christy Marx, Rich Hoag, Larry 

Admits Larry DiTillio, "We would never be 
able to do a battle scene like" this 
skirmish from Neal Adams' comic-book 
version of Captain Power. 

Carroll, Dave Carren, Steve Gerber, Craig 
Noonan, Mark Nelson, Michael Reaves and 
Michael and Mark Cassutt, to gather dust 
and speculation as to what Captain Power's 
future might have been. 

Power Mad? 

The second, and so far lost, season of 
Captain Power finds the Soldiers of the 
Future homeless and, to a large extent, 
vulnerable after the fiery destruction in 
"Retribution." They become more urban 
guerrilla in their outlook as they travel 
across the battle-ravaged landscape in search 
of a new Power Base. Dread and, to a larger 
degree, Overmind continue to wreck havoc 
and do battle with Power and company. 
Along the way, the War Dogs and other new 
and old characters put in appearances. 

' "The tone of the second season was 
similar to The Empire Strikes Back," ex- 
plains DiTillio. "There were many threads 
from the first season that would unravel in 
the second. Eden II was going to become ac- 
tively involved in the battle with Dread. 
Several new characters were going to be in- 
troduced and the characters returning from 
the first season would undergo changes in 

"We were going to do more multi-part 
stories that would carry a thread from the 

The Soldiers of the Future prepare for battle during happier times, with their power 
suits fully charged, their number intact and their leader still sane. 

previous episode. It wasn't going to be just 
the 'Ruined Earth' scenario anymore. 
Power and his group would be on the move 
and, consequently, we would have used dif- 
ferent locations. We were also going to 
show, through different episodes, that the 
post-holocaust society wasn't made up en- 
tirely of helpless people." 

The second season wouldn't have wasted 
any time. A two-parter entitled "Vendetta" 
would have kicked off the season with Cap- 

tain Power addressing Pilot's death in a 
decidedly un-heroic manner. 

"Power basically stops the war to take 
personal vengeance on Dread for Pilot's 
death. It was the beginning of an evolution 
that was going to make Power less of a 
goody-goody hero and more of a bitter, 

Coast Correspondent, previewed Twilight 
Zone in issue #136. 

ST AKLOG/ January 1989 11 

Without their base, Power (Tim Dunig 
and his band would have to join up « 
other guerrillas in the midst 
worsening war. 


Overmind (gyrating sphere on right) was supposed to take more control of the Metal 
Wars before Mattel pulled the plug. 

Mad Max kind of character. The heroic 
leader is a pretty limiting and thankless role. 
We hoped to add some real dimension to his 
character by having him evolve from a 
relative innocent into a bitter loose 
cannon," explains DiTillio. 

Also scheduled for some twists in 
characterization was Scout. 

"We basically got so wrapped up in the 
thread of Project New Order that we didn't 
realize the good chances we were missing 
with Scout. He played an important part in 
a number of the second season episodes, in 
particular 'Face of Darkness.' It was a real 
from-the-heart kind of story. Scout also 
figured in an ongoing relationship with one 
of the new characters. 

"And in light of the fact that Power 
would get progressively crazier as the season 
progressed, we had plans for Hawk, who 

got quite a bit of play during the first 
season, to assume more of the leadership 
role for the group." 

Tank, reveals DiTillio, was also due for a 
major change of pace. 

"We knew that for Tank to shine, we had 
to get him out of that suit and involved in 
doing physical things. There were also plans 
for him to become somewhat involved with 
another character on the show." 

Conspicuous in the Captain Power pro- 
duction offices during the first season was a 
vast array of sketches of possible new 
characters for guest shot or recurring roles. 
With the possible exception of Andy 
Jackson (who DiTillio claims would have 
made at least a token appearance during the 
aborted second season), none of these 
characters made it past the drawing board. 
But, with Pilot's demise in "Retribution," 

some new additions were planned. 

"With Pilot gone, we felt we had to have 
another female in the crew," offers the story 
editor, "and, from the beginning, we felt 
she had to be much tougher than Pilot, 
more of a commando type." 

Filling this void resulted in the introduc- 
tion of Ranger, a no-nonsense survivor of 
an early Dread attack who has sworn her 
own kind of vengeance on Dread. 

"Ranger would have presented some in- 
teresting departures for the show," DiTillio 
speculates. "Unlike Power and the rest of 
the Soldiers of the Future, Ranger has no 
problem with killing. She also isn't big on 
taking orders which would have been cause 
for further conflicts. Plus, after Pilot's 
death, Power is reluctant to risk the life of 
another member of his group, especially 
another woman. 

12 ST &RLOG/ January 1989 

"Ranger was also going to figure in a 
possible relationship with Tank," chuckles 
DiTillio. "Tank is uncomfortable around 
women, so we felt it would make things in- 
teresting if we threw Ranger at him. In her 
first meeting with Tank, she was going to 
take one look at him and say, 'That's for 
me.' She was going to be hustling him." 

Dread Naught? 

On the side of the devils, Dread's "tin can 
robots" would have been replaced by invin- 
cible balls of energy called Hunter Seekers. 
Dread was also going to get an assistant 
named Morganna II. 

"Morganna II is, to an extent, an 
android-like creation," says DiTillio. "She's 
human consciousness transplanted into a 
metal body and a creation who is very 
beautiful, very lethal and very mysterious. 
Her storyline [which DiTillio refuses to 
disclose] would have been a surprise and 
would have opened up an additional thread 
for a planned third season. 

"We were also going to have her become 
involved in a relationship with Scout. 
They're both fascinated by machines so we 
felt it would be interesting to throw them 
together and see what developed." 

But DiTillio claims that the biggest 
development beyond Captain Power's grim 
new attitude would have been the next phase 
of Lord Dread. 

"Dread's changes were going to be con- 
siderable," admits DiTillio. "With his brain 
having been linked with Overmind, Dread 
was becoming more and more of a machine 
anyway, so we decided to take the character 
the next logical step and put his human con- 
sciousness into a machine body. He would 
become, visually, much more imposing: A 
sleek killing machine who would begin 
thinking more and more like a machine but 
whose lingering sense of humanity would 
slowly but surely drive him mad. 

"Dread's agenda would also change. At 
this point, he's no longer interested in 
digitizing the human survivors. What he 
wants to do now is wipe them out. Over- 
mind was also going to be beefed up. He 
was going to come to the fore in the second 
season, unveil a hidden agenda and make it 
plain that he is the one running things." 

The story editor also recounts some pro- 
jected changes in the series that would have 
altered the Captain Power landscape. 

"Because the Power Base was destroyed 
at the first season's end, we would have 
had Power and his group running around 
without a way to recharge their power suits. 
They would only use the suits in an extreme 
emergency and would have spent most of 
the time running around in jungle 
camouflage. Tech City was also going to 
figure prominently in some new episodes. 
And there was also a very real possibility 
that Sauron would have a falling out with 
Dread and join up with Captain Power. 
Things were definitely going to change." 

And uppermost in those changes was the 

projected cutting down of battle scenes in 

favor of the stories taking precedence. Given 

(continued on page 57) 

Would Tank (Sven-Ole Thorsen) finally get the girl? Would Jonathan Power (Tim 
Ounigan) finally get even with Dread? Will fans have to wait forever for the answers? 

Buying Back the Future 

Gary Goddard is near the end of a hunt. 
It's a hunt that may result in a second 
chance at life for the TV series Captain 
Power and the Soldiers of the Future. 

"We've basically reached agreement with 
Mattel on the distribution rights to the first 
season's shows," reports Goddard, the 
creator of the Captain Power series 
(STARLOG #128). "It's just a matter of 
signing the contracts. The distribution 
rights to those shows should be ours again 
in a couple of weeks." 

Goddard, however, isn't putting all his 
Captain Power eggs in one basket. He's 
currently hard at work on a script for a 
Captain Power motion picture that would 
be "a completely different story, but would 
follow the back story that has already been 

But Goddard concedes that his heart is 
still in reviving the TV series. 

"And to have any chance at getting the 
financial backing for a second season, we 
must have the distribution rights to the first 
season's shows from MTS [Mattel's now- 
defunct TV production arm]," he explains. 
"It would be almost impossible to get new 
shows off the ground without the rights to 
the first season's episodes." 

Why it's necessary to seek new money to 
keep a hit show afloat has been the subject 
of much conjecture. Goddard offers his 
thoughts as to why Mattel suddenly pulled 

the plug on the syndicated series. 

"At the end of the first season, we decid- 
ed to move the Captain Power saga out of 
the Power Base and into the rest of the 
world. We were basically moving in many 
new directions that Mattel did not 
necessarily prefer. Another problem was 
that Mattel basically oversold the toys so 
there wasn't going to be the demand for 
them in the coming season. But the most 
damaging thing was Mattel's decision to 
fold their television production division. 
Once they did that, Captain Power was 
essentially dead," says Goddard. 

But Goddard trots out recent Nielsen 
ratings as evidence that the lame duck 
series, despite having lost a number of 
markets, continued to draw viewers. 
"We're still in the top 10 in syndicated net- 
work and kids ratings. Even with the loss of 
stations, we're still drawing a 3.6 to 4.4 
share and, when we're slotted in the early 
evening in some markets, we're drawing a 7 
to 9 share," he explains. 

Despite these encouraging stats, Gary 
Goddard remains cautious on the possibility 
of a second season. 

"It's going to be tough. There's a stigma 
attached to a hit show going off the air the 
way Captain Power did. But the series is 
very dear to my heart. I would certainly like 
to see it continue." 

— Marc Shapiro 

STARLOG/ January 1989 13 


(continued from page 7) 

... I just finished issue #135 and thought it was one 
of your best to date. I especially enjoyed the Marta 
Kristen article. I learned a lot about Marta/Judy 
that I never knew or heard before. 

Kristen may feel now it's time to convince Irwin 
Allen that a Lost in Space reunion is overdue, but 
where was she a couple of years ago when Billy 
Mumy was trying to convince the same people of 
the same thing? 

I was one of thousands of fans who wrote to 
Allen weekly to urge him to bring back Lost in 
Space. The last I heard was that Allen decided not 
to do another Lost in Space. If she is as close to Bil- 
ly Mumy, Mark Goddard and Jonathan Harris as 
she says she is, wouldn't she have also heard this? 

I'm also for the Lost in Space reunion, and I 
wouldn't put anyone down for still trying, but I 
really think the jury has come in on this case. 

Alan Andrews 

2525 Beaver Ridge Trail 

Mogadore, OH 44260 

... If the original cast is willing, which seems to be 
the case, I honestly can't understand why Lost in 
Space couldn't be revived. Hope it's just in 
suspended animation, temporarily. 

Still, until we hear the Jupiter IPs engines hum- 
ming again, reading your Marta Kristen interview 
(#135) was the next best thing. STARLOG has been 
very decent in not ignoring the show and its cast. 
Other than Mark Goddard (whom you'll get to 
soon, right?), you've touched base with all the 

"An intriguing 
ghost story" 





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members of our favorite space family. 

Lost in Space, especially the first season, is still 
enjoyable 20 years later, even after repeated view- 
ings. Perhaps more so now; with VCR technology, 
we don't have to sweat the cliffhanger for a full 
week anymore. 

I disagree with Kristen on one point, however. 
She said, in relation to a Space revival, "it's time." 
No, actually it's long overdue. The quantum leap in 
special effects over the years, mentioned briefly, 
isn't overly important to me. I would just like to see 
the Robinsons again, if even for one last typically 
rousing crash landing — this time on a little planet 
called Earth. 

Joe Frank 

4425 N. 78th Street #260-B 

Scottsdale, AZ 85251 

. . .The interview with Marta Kristen was a fine ar- 
ticle on my most beloved series. Could you please 
do an article on Angela Cartwright? She is a 
beautiful girl and a fine actress. What is she doing 
now? I hope Marta Kristen and all of the fans out 
there can convince Irwin Allen to do a reunion- 
return to Earth TV movie. It would be wonderful 
seeing all of them together again. 

Allan E. Orleman 

Forkgo River, NJ 


... I found the article on Roy Dotrice (in 
STARLOG #133) particularly moving. Here is a 
man who has done so much Shakespeare, and 
who was a contender for the role of Vincent ! How 
different would we feel about this character with 
Roy emitting his emotions? I'm not sure. I do 
know that as Father, Roy has often moved me 
close to tears with the love and compassion he 
feels and shows for his "son" and Catherine. His 
character has grown emotionally so much 
throughout the time span of the series thus far, 
and it's so nice to know that Roy feels strongly 
about his character. 

As to future Beauty & the Beast articles, can we 
meet the girl who we had come to love as Edie, 
but who we somehow mysteriously lost? I had 
also seen her as a pregnant friend of Whoopi 
Goldberg's in Jumpin ' Jack Flash, and she almost 
stole a scene or two from Goldberg there! Edie 
brought laughter and vulnerability to Beauty, as 
does Jay Acovone and his Joe Maxwell character 
Who among us didn't laugh heartily at his scene 
in "Song of Orpheus," where he munched 
hungrily on "chocolate cheese doodles"! ! He was 
a scream!! And yet, during "An Impossible 
Silence," he was very touching in his frank discus- 
sion of his father's brutal death. We should come 
to know these people better. . .they, too, have 
brought magic, laughter and tears to those of us 
devoted to this beautiful show. 

Claudia Bertrand 

23 Sutton Place 

Cranston, RI 02910 

. . .1 picked up STARLOG #133 (never having 
seen it before) simply because it had Roger Rabbit 
on the cover, but when I started reading the rest 
of the magazine, I was surprised to see articles on 
many other of my favorite things! I really liked 
the article on Patrick Culliton and hope they bring 
back Starman. I also enjoyed the article on author 

C.J. Cherryh and was wondering if you had ever 
or will ever interview Robert Lynn Asprin, author 
of the Myth Adventures series. 

I would like to thank Kerry O'Quinn. His essay 
"My Life As a. . .blank. . . " has come to me as I 
prepare for my first year of college. I have always 
enjoyed fantasy/science-fiction books, movies, 
and television. As I have always done rather well 
in school, people will ask me what my major is 
and what I intend to become. A doctor? No. A 
lawyer? No. Why not? What then? All I can do is 
tell them I don't know! After reading this essay, I 
have begun to come up with several ideas. My 
favorite at this time is to be an author of fantasy 
literature. After being reminded how difficult it is 
to be published, I re-read the article and was again 
encouraged. I might not become an author, but I 
know that when I decide what I want to be, I will 
be able to fight for it. 

I became enchanted with Beauty & the Beast 
after watching the pilot rerun. When I saw my 
first issue of STARLOG, I was delighted to find 
an article on Roy Dotrice. He wanted "an episode 
that puts the character of Father in the forefront" 
which I think he got in "Song of Orpheus." It 
was a touching episode that explained his relation- 
ship with Margaret. While I cannot imagine Roy 
Dotrice as Vincent, he makes an ideal Father. He 
certainly is a credit to this sublime show, and I 
would like to see his character developed more as 
well as learn more about his fascinating subterra- 
nean city. With affairs and divorce so predomi- 
nant in our society, Beauty & the Beast has given 
me back my faith in love and romance. I would 
love to see more articles on this show! 

Kathleen Daily 

311 W. State Street 

Hartford, WI 53027 

. . . I'm all for Dotrice's proposed episode 
establishing that Vincent is a genetic construct 
created by Father before his departure to the 
Underground, that there is yet another "truth 
beyond knowledge," as Father put it when Vin- 
cent went to discover that his saviour was 
Paracelsus when he was abandoned. It appeals to 
the medical and legal ethical crises of our 
day — the Frankenstein Syndrome's ramifications 
in genetics labs which are already making rubber 
tomatoes and geep (the sheep-goat) and adding 
human hormones to vegetables. We can assume 
despite technology available that a creature like 
Vincent could be created through scientific seren- 
dipity. The impossible only is until it isn't any 
more. And I often wonder about the medical stu- 
dent, paying for credits with "donations," when 
he sees a child who could be his prepubescent 
double, how funny the "lark" seems then. Along 
with my high school biology class, I went 
"dissection-crazed." One kid promptly brought 
his dog in when it had been killed by a car. I can 
see how that fever turns into fervor in labs. We 
ended up in a university anatomy lab in our zeal. I 
can see Father's conscience catching up with him 
when the deed is not only done, but the product 
survives beyond his willingness to sacrifice it to 
science for analysis in pureed form. I want to see 
that scene! An expected quadriped, a biped in- 
stead, Father's face when a blob of protoplasm 
cries in need. . 

As for Vincent being too beastly for a consum- 
mated affair to not be bestiality, it's a passe 
premise. Vincent is just too human, too attractive 

for a dominating animal appearance to concern 
us. He's human in the best attributes of the 
species; that negates the animal portion of any of 
us. There has been no, pardon the expression, 
"uproar" about Starman, Spock, or hybrids not 
entirely of this planet. Why should there be about 
hybridizing beings indigenous to this planet? As 
for Vincent's grotesque appearance, I suppose 
visually-oriented men do not understand women's 
perceptions of them, that by comparison, they're 
rather over-developed, quite hirsute, and yet only 
their attitudes make them boorish brutes to us. 

B.J. Peters 

145 East 39th Street 

New York, NY 10016 

... I do wish people would stop describing Vin- 
cent as "deformed." Are Vulcans deformed? 
Vincent is quite beautiful if you see him as an 
alien, a felinoid. 

My theory is that 30-odd years ago, a spaceship 
full of felinoids got into trouble, and baby Vin- 
cent's parents put him into an escape pod. Maybe 
the ship blew up before they could follow, or 
maybe the pod went off-course; anyway, it soft- 
landed in New York, where it was found by Nar- 
cissa, the voodoo priestess. She decided the odd- 
looking infant was the son of Lord Bakka (the 
voodoo god who looks just like him) and took 
him to Father. The rest is history. 

I always loved the fairy tale, except for the end, 
where the wonderful Beast who has won Beauty's 
heart turns into an ordinary, dull, handsome 
prince. (In the Jean Cocteau film, he turns into a 
smirking effeminate with too much lipstick. Insult 
to injury!) Please, no plastic surgery for Vincent. 

Vincent intrigues me as no TV hero has since 
Mr. Spock. The two have much in common: Both 
perennial outsiders, physically different from their 
friends, smarter and stronger than any human, 
and possessed of psychic powers. Also extremely 

Sandra Wise 

#102, 2274 York Avenue 

Vancouver, BC Canada 

... I always liked STARLOG but since you've 
had regular articles on Beauty & the Beast, I can't 
wait for the next issue. I can't ever remember be- 
ing affected by a program in the way this one has. 

I would, though, like to caution the fans who 
might feel that because there has been some 
publicity about the show being a success and 
because it is on the fall schedule that they need not 
worry about its continuation. Remember that in 
television, numbers are the name of the game and 
although Beauty & the Beast was the best new 
series CBS had, the year end numbers weren't all 
that great and the summer ratings are even worse. 
I certainly hope that CBS is looking at other 

However, the best assurance that we continue 
to see this wonderful show is to have better ratings 
numbers. In other words, urge your friends to 
watch the show, talk about it at work or over cof- 
fee, as I've heard other hit shows discussed, write 
CBS on a regular basis regarding your support of 
the show, and if you happen to know one of those 
all-powerful Nielsen families, urge them to watch. 

I really hope to be sharing Vincent's and 
Catherine's love and exploring the wonder of Vin- 
cent's fascinating world and people for many 

m»HE MOST Polite 
™ 'klingon is CERTAIN- 

from'the TROUBLE 
With trisbles.':. . 



|l\&FA<T KR/tS FROM 
OF ALL- • • 






CtTAR. TREK'.TfJ& S . 









COUP.SE. YOWZ.A.'. . . 

. OUT, EARTH P* >*! 
S^_ > sC=i^ s WEEWlESl] 


"»* NEW Alien on the 
yet, But you SURE 

HIM. . . 


-Lr"!OW\/aVW(2f-*3-!U--aVJ.S <SB—T2rUJL^~ 

years to come. 
Sylvia Lofrano 
R.R.I, Box 298 
Monticello, IL 61856 

. . . Many thanks to STARLOG for publishing all 
those wonderful and encouraging letters about my 
favorite program, Beauty & the Beast. It was 
relieving to see several male viewers writing about 
the show. I was beginning to think I was the only 
male romantic left in the world. There seems to be 
a stigma attached to the series, that it only appeals 
to women. That is not so! 

Frank T. Rolapp 

3659 College Avenue 71 

San Diego, CA 92115 

... I saw the Emmy Awards and all I can say is 
that Beauty & the Beast was robbed! While win- 
ning three Emmys is great, they deserved others 
for best dramatic series, writing, music, acting 
and makeup. It's just not fair! Hollywood gives 
us so much garbage to watch, and these are the 
ones that win top awards. The decent good quali- 
ty shows go unrewarded all the time. The only 
revenge is to make the second season so much bet- 
ter than the first, so they're forced to 
acknowledge the show next year. A very difficult 
task, but one that needs to be done. Howard Gor- 
don's article (issue #131, "In the Belly of the 
Beast") will definitely help in the creation of these 

Carol Branch 

63 Jamison Street 

Warminster, PA 18974 

. . . After indulging us with several wonderful ar- 
ticles, you've left Beauty & the Beast fans to 
starve lately! Have mercy, please. 



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FEBRUARY 11 £ 12, 1989 






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How about some interviews with Linda 
Hamilton (who doesn't get nearly the attention 
she deserves for her enormous contribution to the 
show) and David Greenlee, the wonderful eccen- 
tric "Mouse"? 

A show isn't created by writers and actors 
alone, either. Could we hear from costume 
designer Judy Evans and Emmy Award-winner 
John Mansbridge, whose terrific talents make the 
tunnel world so believable? 

Linda Wright 

825 N. Wilcox Avenue 

Hollywood, CA 90038-3617 

As we've stated before, Linda Hamilton has been 
unavailable for interviews. David Greenlee, 
though, will be on hand shortly. And Jean 
Marais, the original Beast from the classic Jean 
Cocteau film, tells his story in STARLOG 
YEARBOOK #5. Don't worry, be happy & eat 
well. More B&B coverage is planned. 


... I could not help noticing you cover just about 
every kind of science fiction in the movies and on 
television, yet I have not seen any coverage of 
science fiction or fantasy in commercials or adver- 
tisements. Has this topic been covered before? 

Steve Calendar 

Pacific Palisades, CA 

In STARLOG #105, Steve Swires took us into the 
midst of Dr. Pepper's "Soda Wars in Space" with 
interstellar barmaid Caroline Munro. But for the 
most part, this is one sector of the science fiction 
universe we like to stay clear of, since we already 
have more than enough to cover. 


. . . Thank you for your recent profile of actress 
Jane Badler (#133). Badler is a talented actress 
who seldom gets the recognition that she deserves. 
She was excellent as Diana and was the one bright 
spot of the dismal series The Highwayman. I hope 
that you continue to support Badler and "V," 
since both have a great number of fans in the 
science-fiction community. 

Paul Jones 

204 Corkwood 

Jacksonville, AR 72076 


. . . Thank you so much for including in 
STARLOG #133, Beverly Payton's very fine arti- 
cle on actor Patrick Culliton. I am a great fan of 
his and have particularly enjoyed his role on Star- 
man. The article shows what a nice person he is in 
addition to his being an excellent actor. Hopeful- 
ly, this publicity will lead to his being cast in more 
and perhaps larger roles in the near future. 

Sharon Herden 

4636 Johnson Avenue 

Western Springs, IL 60558 

... I was with you guys from the beginning and 





five straight years after that; then you no longer 
had items of interest to me. So, I stopped reading 
your magazine. 

However, I picked up STARLOG #135 and I 
really enjoyed the stories on Lost in Space, The 
Prisoner, Green Hornet, Susan Oliver and the 
new Star Trek. 

For us baby boomers, how about an episode 
guide on The Avengers, Danger Man and Wild 
Wild West, plus some features on '40s and '50s 
serials like Jet Jackson, Copperhead, Crimson 
Ghost and The Durango Kid! 

The magic is back. Thank you so very much 
and keep up the good work. 

Billy J. Rachels 

516 Colton Avenue 

Thomasville, GA 31792 


Missing copies? Moving? Renewals? Re- 
ceiving duplicates? Subscription questions? 
Write directly to: 

P.O. Box 132 

Mt. Morris, IL 



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money order 
to above ad- 
dress. See 
subscription ad 
this issue. 

Inquiries addressed to editorial offices only 
delay your request. 





John Colicos 

The Quintessential 

Is this your favorite Klingon? John Colicos 
as Commander Kor. 

Whether human quisling or alien commander, this actor finds 

arch-villainy simply heavenly. 

Villains, like blondes, have more 
fun," says veteran actor John Col- 
icos, who should know. Colicos 
created two of science-fiction television's 
most famous villains: Star Trek's Klingon 
Commander Kor and the human traitor 
Baltar on Battlestar Galactica. But besides 
those disreputable notables, he has played 
countless other "villains of the week" on 
such shows as Mission: Impossible, Hawaii 
Five-O, Night Heat, Mannix and Alfred 
Hitchcock Presents. Reflects Colicos, "I 
think I've been on just about every crime or 
adventure drama there is." 

Accordingly, getting the role of Com- 
mander Kor didn't seem like any great big 
deal. "I was living in Toronto at the time," 
Colicos recalls. "I got a phone call, 'Would 


you come out to California to do an episode 
of Star TrekV I said, 'Yes, of course.' The 
script was sent. It arrived about two hours 
before I went to the airport, so I learned the 
lines on the plane between chicken sand- 
wiches, and then went straight to makeup. 

"It was all such a last-minute job that 
nobody knew what Commander Kor should 
look like. So, we devised the makeup right 
then and there. 

"He [Fred Phillips] said, 'What do you 
want to look like?' I saw the script as a 
futuristic Russia and America at log- 
gerheads over this peaceful little planet, so I 
said, 'Let's go back in the past and think of 
Genghis Khan, because Kor is a military 
commander, ready to take over the entire 
universe with his hordes.' My hair happened 

to be very short and combed forward, so I 
said, 'Spray my hair black, kink it up a bit 
and give me a vaguely Asian, Tartar ap- 
pearance. Let's go for a brown-green 
makeup so I'm -slightly not of this world,' 
and within two hours, this thing emerged 
and that was it." 

But Colicos wasn't entirely responsible 
for the way fans know the quintessential 
Klingon. "It was Bill [Shatner] who changed 
the pronunciation of Commander Kor's 
name," he explains. "Bill had some idea 
that it sounded like 'canine corps' or 
something like that, so he decided to change 

Canadian correspondent, previewed War 
of the Worlds in issue #137. 

STARLOG/January 1989 17 

All Star Trek Photos: Copyright 1967 Paramount Pictures TV 

"Battlestar Galactica was like playing games again," admits Colicos, "with mad 
costumes and being the lord of the universe— it was a ball." 

it. I said, 'But if it's going to be pronounced 
"Koor," then I'm going to be selling Coors 
beer.' So, there was a bit of palaver about 
that, but we wound up doing what we did 
because it was Bill's suggestion." 

Despite the "palaver," there was no 
animosity between the two actors. "We 
worked beautifully together. There was no 
problem at all," Colicos testifies. Asked 
about Shatner's reputation as a jokester, 
Colicos smiles broadly. "Bill keeps people 
on their toes — all the time." 

The episode, "Errand of Mercy," was 
directed by John Newland (STARLOG 
#130). "He was highly intellectual," recalls 
Colicos, "a highly educated man. John was 
always reading a book. He was very profes- 
sional, wasn't interested in any squabbles. If 
you didn't know all your lines, he would 
say, 'Well, when you 're ready, I'll be 
ready,' and he would just sit and read his 
book. I think John always felt that television 
was just a notch beneath him. He knew his 
job absolutely perfectly, but he was rather 

The aborted war between them could have 
been glorious, but as it is, Colicos still 
thinks Kor's single skirmish with Kirk 
(William Shatner) and Spock (Leonard 
Nimoy) is "splendid." 

impatient. It was trivial to him. I like the 
way the episode turned out, though. It's 
splendid. My favorite line is, talking about 
the war that the Organians had prevented, 
'A pity. It would have been glorious!' " 

Colicos was twice asked to return as Kor, 
whom Gene Roddenberry wanted to make a 
recurring character. Since Colicos' other 
commitments prevented this, the idea was 
abandoned. "What they did," explains Col- 
icos, "is they had all Klingons looking 
vaguely like the Commander Kor makeup. 
Some of them had the beards, the goatees, 
the moustaches — most didn't, but they all 
went for the up-swinging eyebrows. 

"There is only one photograph, a head 
shot of me as Kor that was taken as a 
publicity still, so there must be many pirated 
pictures around," he speculates. "I keep 
getting color photos sent from all different 
parts of the world, with Bill and myself in a 
scene. People keep sending them for 
autographs, so it has become a very iden- 
tifiable face." 

Traitorous Traits 

However, it is not as Kor that Colicos is 
mainly recognized by SF fans, but as Baltar. 
"I can't go anywherel" he exclaims. "Peo- 
ple are screaming out of taxis, 'Hey, Baltar!' 
It's the curse of the Cylons! About four or 

18 STARLOG//anMao> 1989 

five years ago, we were doing The Dresser 
out in Edmonton [Canada] to a school au- 
dience who were magnificent, great ap- 
plause at the end. I put up my hand and they 
went deader than a doornail. 'I just want to 
tell you,' I said, 'that I think you've been the 
best audience we've had.' We started ap- 
plauding them, and some kid screamed out, 
'Baltar lives!' It brought the house down. 

"I have two young female fans in the 
Antelope Valley," Colicos explains. "I have 
no idea how they tracked me down, but they 
keep sending me stories with Baltar as the 
hero and lovely drawings. They've idealized 
me terribly and taken 60 pounds off me." 

In the midst of remarking on the many 
pleasant experiences he has had with fans, 
Colicos smiles merrily, remembering a Los 
Angeles SF convention he once attended. 
"There was one kid who said, 'Mr. Colicos, 
what does Baltar do when the chair turns 
around and we can't see him anymore?' I 
was stumped for a second, then I said, 
'Well, it's perfectly obvious. He reads 
Marvel comics all day long.' That brought 
down the house. Then, I thought, well, 
maybe he does. I mean, what else does 
Baltar do?" 

Still, Baltar's part in the Battlestar epic 
was almost a very small one. "Initially, I 
was only to be in the pilot," recalls Colicos. 
"Then, Glen [Larson] decided he liked the 
character and the work that I was doing, so 
he decided to keep Baltar as a running 
character. He re-directed the pilot's final 
scene himself, so that when the sword came 
down to cut my head off, he stopped it at 
the last second and I was spared if I would 
betray the human race. 

"Had the show gone on longer, we had 
some marvelous ideas. Glen is a Mormon, 
very imbued with the Bible. There are many 
biblical references in Battlestar — Adama, 
for instance, and the tombs of Kobol, the 
lost tribes of Earth. All of that is a kind of 
strange pastiche of events in the Bible. We 
conceived Baltar as eventually being a sort 
of Lucifer, basically a fallen son of God. He 
might have turned out eventually to be a 
bastard son of Adam, or a brother — the 
black sheep of the family, as it were. In fact, 
I was the one who, at a luncheon in a 
Chinese restaurant, brought up the idea." 

Colicos also claims credit for the design of 
Baltar's costume. "I was furious," he com- 
ments, "about that sheet thing that I wore in 
the pilot, those diapers. That was ludicrous. 
That's why I designed the green velvet and 
the hairpiece. It had a slight suggestion of 
horns to it, so it was slightly satanic. Then, 
they decided to light me all from beneath, to 
make me as grotesque as possible. There 
were all kinds of directions considered." 

Once Baltar was established as a series 
regular and the episodes unfolded, his 
character underwent considerable change. 
"What was unfortunate," says Colicos, 
"was that we had different writers on every 
episode and they hadn't come to grips with 
the storyline. They hadn't quite decided 
what audience they were trying to reach, 
whether it was cutesy kid audiences, or 
whether it was college-level science-fiction 

Vanquished by his own villainy in Battlestafs pilot, Baltar (Colicos), the "fallen son of 
God," was born again (and not beheaded) for the series, thanks to Glen Larson. 

fans, or the general populace. By not find- 
ing a full two-year storyline, and having a 
bible to follow, the character of Baltar kept 
flipping back and forth." 

Colicos himself isn't sure what motivates 
Baltar. "If it's a revenge motive, then it's 
the classic 'Better to reign in Hell than serve 
in Heaven.' It may be, as my Antelope 
Valley girls make out, Baltar was framed. 
There's a third suggestion we toyed with, 
that it's all a ploy to finally get rid of the 
Cylons. Baltar would turn out to be 
Adama's spy. Take your pick. Because the 
writers never decided who and what he was, 
we never found out. 'I've played villains,' I 
thought. 'I've played monsters. We'll do a 
fine line and make it enigmatic' When in 
doubt, be enigmatic." 

Cruel collaborations 

On Battlestar, as on Star Trek, creative 
relationships for Colicos were excellent. 
"Glen Larson was marvelous," he enthuses. 
"We had wonderful lunches. He's a man 
who knows how to live and lives very well 

indeed. He's highly intelligent and very 
creative — millions of ideas floating around 
in his head all the time. He's not closed- 
minded at all, but open to all suggestions. 

"The fellow who played Lucifer was a 
sweet kid. He was marvelous, but he had no 
voice at all. He was a tiny, little fellow, a 
dwarf, I think you would say. He only came 
up to the middle of Lucifer. The top was a 
harness that he wore. He was speaking out 
of the middle of the body, while all this elec- 
tronic madness was going on on top, the 
eyeballs going beep-beep-beep. They 
brought in Jonathan Harris [of Lost in 
Space, see STARLOG #96] to dub in 
Lucifer's voice later, but I never saw him. 

"Half the time when I was playing Baltar, 
the scene started when I would whirl around 
in the chair, and there I would be, the regal 
lord, sitting up on the top of this pedestal. 
But, I thought, 'I'm going crazy here. I'm 
climbing this Leaning Tower of Pisa, on this 
rickety ladder.' The most dangerous part of 
the whole performance was getting up 30 
feet on that ladder, with four stagehands 

START OG/.!anuarv 1989 19 

hanging on. It was way the hell up in the top 
of the ceiling. They shot all my stuff on a 
crane. What with 'By your command' and 
all this, I finally got to the point where I 
thought if I talked to any more bloody 
robots, I would go out of my mind. 

"When I finally did go to war on Bat- 
tlestar," Colicos reveals, "and wore the 
Cylon helmet, which had my face showing 
in there, instead of the mechanicals, I was 
nearly burned to death. The helmet had 
these lights or something, over my forehead. 
I was sealed inside this ship thing and 
something went wrong with the helmet's 
electronics. Well, I could feel the damned 
helmet burning a hole in my forehead but I 
couldn't get it off, and I was yelling for 
help, but they couldn't hear me. Finally, so- 
meone saw me waving my arms around like 
a madman and realized something was 
wrong, but it was a near thing." 

Still on the subject of acting accidents, 
Colicos tells the story of a stage fight he per- 
formed with Keir Dullea (STARLOG #88) 
on an episode of The Starlost. "Kooky Keir, 
he put me in the hospital," Colicos notes. 
"We had to do a stave fight, but these staves 
had heavy aluminum balls on their ends. We 
choreographed the whole thing completely. 
I've done a lot of fencing in my time. I've 
done some hair-raising fights with sabres 
and whips and things, so I know what I'm 
doing. We had worked it out so that he 
would hit me on the shoulder, but from the 
camera angle, it would look like he hit me 
on the head. I said to Keir, 'By the numbers, 
Keir, one, two, three, four.' 

"When we got to the actual take, it was 
going very fast, but still under control, but 
at the final blow, he hit me, bong, smack 
over the head. Down I went, onto a mattress 

"When you do science fiction," notes John 
Colicos, "the imagination can run wild." 

It was never intended to leave Kor cornered 
for long. If not for other commitments, Kor 
might have menaced Kirk (Shatner) and 
Spock (Nimoy) more often. 

underneath the camera. The sound man said 
that his eardrums were blasted with the 
blow. They whisked me off to the hospital 
and started checking my vital signs to see if I 
was still alive. I was furious about it." 

Colicos' non-SF roles have also caused 
him concern. In 1973, he created the role of 
Sir Winston Churchill in the controversial 
play Soldiers. "I had hate mail, threatening 
letters," he recalls. "In fact, the company 
took out a million pounds insurance on my 
life, in the hopes that some lunatic would 
shoot me and they would recoup the pro- 
duction costs." 

In The Changeling, a supernatural thriller 
with George C. Scott, Colicos played a 
detective. "It's a wonderful haunted house 
story. I had one scene with George, then was 
flipped over in the car by the ghost, deader 
than a doornail. That was the hardest part 
of the job, having to hang upside down in 
the chassis of this car, with blood dripping 
into my eyeballs, trying not to blink." 

Victorious Villainy 

A native Canadian, Colicos got his acting 
start in high school, when the principal 
drafted him at short notice for the school 
play. When an English teacher introduced 
him to Shakespeare, he decided to become a 
classical actor. "One of the first roles I ever 
played was God," he laughs, "and I've been 
going downhill ever since." 

That "downhill" trip, has encompassed 
many stage roles, as well as countless ap- 
pearances on television and such feature 
films as Anne of the Thousand Days, Raid 
on Rommel, Scorpio and the 1984 version 
of The Postman Always Rings Twice. It also 
included a period with the illustrious Old Vic 
Shakespearean Company in London, 
England, which he joined in 1951. There, at 
age 23, Colicos became the youngest King 
Lear on the English stage in this century. 
"To me, Shakespeare," he explains, "is the 
greatest psychologist who was ever born. 
His knowledge of humanity, from the 
highest to lowest, is absolutely incredible." 

It was in his early years of stage and radio 
work in Canada, however, that Colicos met 
the two actors with whom he would do his 
best known work, William Shatner and 
Lome Greene. "Lome went to 
Hollywood," Colicos wryly observes, 
"learned how to ride a horse, became Pa 
Cartwright and wound up playing God in 
Batt lestar." 

Colicos has strong feelings about heroes 
and villains. "Leading men are so cliched," 
he maintains. "They're so boring, so predic- 
table. But when you get a really kooky, off- 
beat villain, you can explore all kinds of 
devious twistings and turnings in the human 
mind. If you're a hero, well, they're all in- 
terchangeable. I don't think they're so in- 
teresting as these basic characters, which are 
the mainstay of all the shows anyway. Peo- 
(continued on page 63) 

20 ST AKLOG/ January 1989 








JANUARY 7-8, 1989 
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(continued from page 9) 

elude Predator II and Commando II). But, 
for the time being, yet another comics pro- 
ject has marched over the battlefronts and 
into production limbo. 

Updates: Spider-Man, in the meantime, 
was to have started shooting in September- 
October. That date was pushed back to 
November at presstime. 

And just as you knew they would, they 
changed the title of Pumpkinhead again. 
Longtime title buffs remember it was Pum- 
pkinhead, then Vengeance: The Demon, 
then Pumpkinhead, then Vengeance: The 
Demon. And so, yes, not long before its 
latest rescheduled release date (October), the 
movie once again became . . . (dramatic 
pause) Pumpkinhead (see FANGORIA #80 
for the full story of behind-the-scenes chaos 
re: titles & release). 

Speaking of title changes, there's Future 
Tense (script title) which became Outer Heat 
(during filming) which became AlienNation 
(later). Shortly before release, 20th Century 
Fox's advertising department — apparently 
without really discussing the punctuation 
subtleties with the studio's publicity depart- 
ment — altered the title again. And it became 
Alien Nation. Yes, two words now, a 
dramatic change, eh? 

More substantial alterations were evident 
in the finished film itself. It does not include 
a score by Jerry Goldsmith (who discussed 
his musical contributions to Alien Nation in 
STARLOG #133); the music is now by Curt 
Sobel. Additionally, as with any movie, cer- 
tain scenes were edited out. However, in this 
case, it was a rather notable entire se- 
quence — described in Carr D'Angelo's set 
visit in STARLOG #130 and cited in the 
Mandy Patinkin interview in STARLOG 
#136. In brief, Newcomer bad guy Rudyard 
Kipling (Kevyn Major-Howard) escapes the 
cop car which blows up (the finished film 
suggests he was killed in that explosion) and 
attacks human detective Matt Sykes (James 
Caan) and his Newcomer partner Sam 
"George" Francisco (Patinkin). Sykes 
realizes Kipling is the Newcomer who killed 
Sykes' first, longtime partner Tuggle, but 
Kipling is getting the best of the human. 
Then, Francisco picks up Sykes' really big 
gun — introduced in the early firing range 
scene which also demonstrated that Fran- 
cisco wasn't a very good shot — and blows 
away Kipling. It's this latter image (Fran- 
cisco firing the big gun) which appears on 
the cover of STARLOG #136. 

Who Framed Roger Rabbit wasn't im- 
mune from cuts either. And a long dialogue 
scene described in the set visit published in 
STARLOG #132 was, likewise, deleted from 
the finished film. It can be heard, however, 
in the storybook record soundtrack version 
of Roger Rabbit. 

And Jerry Goldsmith has another SF film 
to score — Star Trek V. 

Genre TV: CBS changed its mind and 
halted Jake's Journey (STARLOG #136). 
Planned for an October series premiere, the 

fantasy comedy starring Graham Chapman 
has been delayed to mid-season or later. 

Among the other changes evident in the 
second season of Star Trek: The Next 
Generation are some altered costumes and 
hairstyles, a bearded Jonathan Frakes as 
Riker, the elimination of Geordi La Forge's 
(LeVar Burton) VISOR and at least two new 
sets. "The Child" — one of the unfilmed 
Star Trek II series scripts described in 
STARLOG #136 — was rewritten to become 
a Next Generation adventure. 

Sequels: Due to disappointing box office 
returns, no follow-ups are expected to Short 
Circuit 2, The Blob and Phantasm II. 
However, thanks to surprisingly strong 
videocassette response (and despite the 
overall lesser quality of Howling II, III 
and — maybe — IV), a Howling V\% planned. 

Character Castings: The cast of Joe 
Dante's The 'Burbs includes, once again, a 
number of Dante veterans: Corey 
(Gremlins) Feldman (STARLOG #98), 
Robert (The Howling) Picardo, Henry (In- 
nerspace) Gibson and of course, Fango fave 
Dick (every Dante film) Miller 
(FANGORIA #61). Tom Hanks, Carrie 
Fisher (STARLOG #71), Bruce Dern 
(STARLOG #125), Brother Theodore 
(FANGORIA #40) and longtime Lucille Ball 
show foil Gale Gordon co-star. 

The script of The Von Metz Incident is by 
SF legend Richard Matheson (STARLOG 
#100), his son/screenwriter Richard Chris- 
tian Matheson and Robert Clark. It's a 
comedy with Dan Aykroyd, Gene Hack- 
man, Dom DeLuise, Ronny (RoboCop) 
Cox (STARLOG #129) and Dick (Wolf en) 
O'Neill. Clark directs. 

Greg Burson replaces the late voicemaster 
Daws Butler, longtime heart & soul of Yogi 
Bear and many other animated characters 
(which Butler discussed in STARLOG 
#116), as the voice of Yogi. 

A revolutionary new suntan lotion turns 
out to have more than just everyday 
dangerous chemicals in it. It has aliens, too. 
Linnea (Return of the Living Dead) Quigley 
copes with the Tan-talizer formula in a $1.3 
million thriller scripted by Bill George. 

Legendary character actor Pat 
Hingle — probably best known as the hang- 
ing judge in Hang 'Em High and Clint 
Eastwood's cop partner in The Gauntlet— is 
once again on the right side of the law. 
Hingle portrays Commissioner James Gor- 
don in Batman, currently filming. 

Another character from the Batman 
mythos will be on hand for this movie: 
Gotham City D.A. Harvey Dent. As Bat- 
man fans know, Dent is later attacked and 
half of his face mutilated, thus creating 
another of the Darknight Detective's 
greatest foes, Two-Face. And Dent's 
presence in this movie does offer a clue as to 
just who might end up scarred a bit as the 
villain in any prospective Batman II or ///. 
Furthermore, he's a noted genre ac- 
tor — who was interviewed in STARLOG 
#35 & #80. Playing the heroic D.A. Harvey 
Dent is Lando Calrissian himself, Billy Dee 

— David McDonnell 

OK then, is this your favorite Klingon? 
John Larroquette as Maltz. 


Klingon comedian 




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^ Preparing for his role alongside Stephen 
Liska (left), Larroquette "talked to a couple 
of old Klingons at the Old Klingon Home." 

After years behind bars, captured crewman 
Maltz finally gets the last laugh. 


ven sitting in his trailer, hunched 
over a few fast hands of some 
unidentifiable card game with Stuart 
(Fatal Attraction) Pankin, John Larro- 
quette is a big guy. His thick hair is styled in 
a steelwool pompadour, his grey vest fits 
snugly and the matching coat hangs over a 
seatback — the better to show off the .45 
automatic snug in a leather shoulder holster. 
As the cards are dealt, Larroquette spits 
out comments in a dead-serious voice that, 
even when he reverts to his Dan Fielding 
persona— the character he portrays on Night 
Court— as he often does, it's impossible to 
tell how seriously to take him. 

So, when he tells you how his role as a 
Klingon in Star Trek III: The Search for 
Spock triggered a "Free Maltz" campaign, 
you're not sure if you should keep a straight 

"It's very interesting," Laroquette 
remarks. "My character, Maltz, winds up in 
prison at the film's end. In New Zealand, 
there's a group of people who call 
themselves the Klingon Occupation Force, a 
huge fan club of Klingons [see Fan Net- 
work]. The Starfleet are assholes as far as 
they're concerned, and they have this huge 
'Free Maltz' campaign. They want to get 
him out of prison. I get mail from them all 
the time." 

"Seriously?" you ask, half-certain that 
you're being put on. 

"Oh, yeah," he deadpans, rifling the 
cards. His face is a sober mask. You start to 
think his story is plausible. 

But then you remember that this is the 
t joker who earlier in the interview, when ask- 
£ ed about his co-stars, solemnly offered the 
| name of Stanley Myron Handleman— who 
S isn't even in the picture! 

You don't question John Larroquette, 
though. For one thing, he's over 6 foot 3 in- 
ches. For another, that automatic nestled in 
his shoulder holster might actually be real, 
although there's just as good a chance it's a 
prop. After all, he's supposed to play a 
detective named Wills in Second Sight, a 
fantasy-comedy filming in and around 
Boston. It co-stars Pankin, Bess (High Road 
to China) Armstrong and Bronson (Perfect 
Strangers) Pinchot, not Stanley Myron 

What appears definitely genuine is Larro- 
quette's pleasure at having played Maltz in 
Star Trek III. Avid Trek fans don't usually 
connect the four-time Emmy winner with 
the only survivor of Commander Kruge's 
Bird of Prey crew. Larroquette was not as 
well-known when Star Trek III was released 
as he is now, and even his fans would have 
difficulty recognizing him under the gobs of 
makeup and body armor. 

Maltz s Mania 

So, how did Larroquette wind up in Star 
Trek IIP. 

"Well, I was just called and asked," he 
says seriously. "And I ran. The possibility 
of being part of the Star Trek legend in any 
way — I would have done a bit role if they 
had wanted me. Leonard Nimoy and I got 
together, and I read some of the script with 
him. I guess the idea of playing a Klingon 
was real fascinating to me. At some point, if 
they build a Star Trek wall like the Vietnam 
veterans wall in Washington, DC, it will 
show that I was indeed part of that." 

Sensing that you've made contact with 
the real John Larroquette, the one who col- 
lects Samuel Beckett first editions, you press 
forward, wondering aloud if he's speaking 
as an actor or a fan of the show. 

"Oh, absolutely as a fan of the show. As 
an actor, there really wasn't that much to 
do. I mean, considering the fact that you 
have five hours of makeup every morning. 
My call was 5:00 a.m. to be on the set at 
10:00 a.m. But because of what it was, I just 
wanted to be part of it somehow. And it was 
fun, a lot of fun." 

Larroquette's Klingon was the one who, 
when Captain Kirk beams aboard the Bird 
of Prey and threatens him with death if he 
doesn't cooperate, says, "I do not deserve 
to live." To which Kirk replies, "Fine, I'll 
kill you later." It was one of the few 
humorous moments in the Federation's side 
of the story. 

The actor claims to have enjoyed working 
with first-time director Leonard Nimoy, 
William Shatner and Christopher Lloyd, 
who played Kruge (STARLOG #82). "None 
of them took it real seriously," he notes. 

"Nimoy knows that form inside and out, 
obviously," Larroquette recalls, "and since 
I had never played a Klingon before, it was 
sort of like, 'No, this is how Klingons talk.' 
There was a linguist there. We had to learn 
the language. There were certain pronuncia- 
tions that were correct and certain ones that 
weren't. It was fun in that regard, and a lit- 
tle strange looping it," he adds wryly. 

However, Larroquette recalls that Lloyd, 

another Star Trek fan, had a rougher time 
playing Kruge. 

"He sweated quite a bit," Larroquette ex- 
plains. "They had to keep poking his 
makeup with holes so they could squeeze the 
sweat out. It was very heavy from the wig all 
the way down. It was claustrophobic." 

Did he do any specific research for the 
role, you wonder, such as review past Star 
Trek episodes or talk to other actors who 
have played Klingons? 

"Yeah," Larroquette deadpans. "I talk- 
ed to a couple of old Klingons at the Old 
Klingon Home." Suddenly, the interview is 
spinning out of control again. 

"John Larroquette, to my mind, has 
never failed to screw up a major interview," 
Stuart Pankin chuckles, looking up from his 
hand at cards. He's winning. Larroquette 
offers him a familiar hand salute that he 
definitely did not learn from Mr. Spock. "I 
would like it to be known that Mr. Larro- 
quette is giving me the finger," Pankin 
points out for posterity — and publication. 

"I would love to talk about something 
serious," Larroquette confesses, "but how 
can you talk seriously about a role where 
you spent the whole day with a crab on top 
of your head? 

"Basically, it was just a war story. It was 
a long time ago. It was a small set, with a lot 
of smoke. A lot of smoke. It doesn't look 
like smoke on film. It looks like at- 
mosphere, I guess. But the Klingons were an 
unkempt bunch, too. So, there were many 
cigarettes lying about the set that we didn't 
see. At some point in the film, I wanted 
Christopher Lloyd to turn to me and say, 
'Bring me some chocolate, Maltz.' 

"I just kept telling Leon Shatner — no, 
what's his name? Bill Shatner — since I was 
the last surviving Klingon, I smell spin-off. I 
could take this to a series. Maltz starts off 
and he has a little hot dog stand on Yakka 
III out there in the Doofus Galaxy." 

Sensing a hint of an attitude toward 
Shatner, you pursue the subject, but the 
responsible Larroquette snaps on without 
missing a beat or changing inflection. 

"He was wonderful," Larroquette says. 
"He's real good. I didn't notice much 
display in his part. Maybe Leonard being 
the director had something to do with it. 
They've been together so long that they 
know how to communicate with each 

In spite of his horsing around, Larro- 
quette has a simple one-word answer to the 
possibility of his reprising the role of Maltz. 

"Absolutely," he affirms. And you 
believe him, even though he has already 
described himself as "the Cajun asphalt 
king of Northern Louisiana" and assured 
you that, "I was born in a little village in 
Northern India to lesbian parents, strangely 

Pilot's Path 

For the record, his official biography says 
he was born in New Orleans' French 
Quarter to Cajun parents. "It was your 
basic New Orleans suburban life," he 
relates. "We raised turkeys and rabbits and 

Though it isn't SF, Night Court does provide 
unusual cases for Larroquette and Charles 
Robinson (far right). 

collected eggs in the morning before going 
to school. I had a very lively family. We 
were very theatrical in many ways. It was a 
nice place to grow up. I was an only child, 
so I was left to my imagination. New 
Orleans didn't have a whole lot of theater 
because the streets are filled with theater. 
So, why do you have to go to a stage play?" 

These days, Larroquette is best known for 
his broad comedy roles, but it hasn't always 
been that way. He has had an unusual acting 
career that began, he suggests, when he was 
a progressive disk jockey during the '60s. 

"After I got out of military service in 
'69," he recalls, "I moved to Colorado. I 
thought it would be a good place to spend 
the rest of the '60s, or the rest of my life if I 
liked it. I was offered a job in radio in 
Houston, Texas. [During this period, he 
"narrated" Texas Chainsaw Massacre] The 
period between '69 and '71 or '72 is pretty 
hazy in my memory banks. Like Robin 
Williams said, if you remember the '60s, 
you weren't there." 

But as radio formats changed, he grew 
disenchanted with the field and moved to 
California to work for a record company. 
When it went bankrupt after a year, Larro- 
quette decided to pursue what he now says 
had always been his goal. 

"I always knew I was going to be an ac- 
tor," he says. "For a while, I thought I was 
going to be a priest. It's basically the same 
job — selling a fantasy. So, here I was in 
California and I said, 'OK, it's time to stop 
fooling around. I've always wanted to be an 
actor. I have two choices. I can go back to 
New Orleans and become a missionary for 

correspondent, is the current author of 
NAL's Destroyer series. He profiled Van 
Williams in issue §135. 

ST ARLOG/ January 1989 25 

As Maltz, Larroquette survived Trek III, but 
as the salacious D.A. Dan Fielding, women 
may be the death of him yet. 

art or move to Los Angeles and become a 
mercenary.' I decided to do the latter. I 
auditioned for some Equity-waiver plays, 
happened to get lucky and got a role." 

His early stage work led to good reviews 
and then to TV. His first "role" was as a 
stand-in for Sam Elliott. 

"I sat in a truck, a big rig, ail^day long as 
they lit," Larroquette recalls. "I said, 'No, 
no, nooo. This is not what I'm supposed to 
be doing. My ego is far too large.' So, I go 
to Elliott, 'Hey you! Get in the truck!' " 

Larroquette survived that experience and 
went on to play opposite George Peppard in 
the short-lived Doctors' Hospital TV series. 
"It lasted a big 13 weeks. I think I did 11 of 
them, but just as the intern who's giving 
compassionate looks to cancer patients. 
When George walks in, I would say, 
'Hematoma left hemisphere, sir! I'm not 
sure what to do!' " 

After that, he had a small role in the Rich 
Man, Poor Man mini-series, and then came 

Baa Baa Black Sheep in 1976. Larroquette 
landed his first film role in Heartbeat, and 
was soon offered a small part as an X-ray 
technician in Altered States. 

"It was great," he says, a hint of en- 
thusiasm creeping into his voice. "It was my 
second film job ever. I worked on it for 
three days. [Director] Ken Russell 
[FANGORIA #79] was very kind to the ac- 
tors, very meticulous. I got to work 
with— whom I didn't then know— Bill Hurt, 
Bob Balaban and Charlie Haid. It was great 
to work with Ken Russell and be part of that 
lexicon as well." 

But Larroquette still remains fond of the 
thoughtful, if maverick, Lt. Bob Anderson, 
whom he played in Baa Baa Black Sheep, 
which was based on the wartime exploits of 
Marine pilot Gregory "Pappy" Boyington. 

"I liked doing it very much," Larroquette 
observes. "Anderson was a black sheep. He 
just had a little better I.Q. and he was more 
pompous than the others. They were great 
guys. It was an interesting group of actors, 
particularly W.K. Stratton, Robert Ginty, 
Dirk Blocker and James Whitmore Jr. I was 
29 when we started Black Sheep. I hadn't 
started drinking nearly as heavily as I did in 
the next few years," he says, referring to a 
well-publicized bout with alcoholism. "It 
was a whole different gestalt as far as the si- 
tuation with those characters were concern- 
ed. We were young. We sort of played our 
roles off-screen, too, which got us into trou- 
ble occasionally. When we were together in 
public, it was sometimes difficult to separate 
the characters from the actors— which was 
fun, but a little immature." 

The jump from war -hero Anderson to the 
sleazy assistant D.A. Dan Fielding seems 
like a big leap, especially in an industry 
where typecasting is so prevalent, but Larro- 

quette quickly dismisses the transition as 

"When actors get pigeon-holed, that's 
their own doing to a large degree," he says. 
"Because if you do something that people 
like, obviously they're going to ask you to 
do it again. It's up to you to say no. If 
you're that insecure about working, you'll 
probably do what you're known to do." His 
voice drips with well-modulated sincerity. 
And just when he senses he has lulled you 
into suspending your sense of disbelief, he 
shifts mindsets again and adds, "I was much 
younger. I had a decade between the two 
shows— and a few acting lessons with 
Harvey Lembeck and Erik Estrada. I took 
Erik's scene-study class." 

Psychic's Sidekick 

So, what about Second Sight, you ask, 
sensing that it's time to move on. 

"Well, it's a combination of A Streetcar 
Named Desire and Pee-wee's Big 
Hard-On," he says, looking at his hand. 
Pause. He decides that maybe that's not the 
answer he wants to give and tries again. "I 
describe it as The Three Stooges Meet 
Ghostbusters. I own a detective agency. I'm 
partners with Stuart's character, Preston 
Pickett Ph.D., and Bronson Pinchot's 
character, Bobby Magee. We're rather 
unorthodox in that we do have a rather 
powerful psychic working for us. Our rela- 
tionship is somewhat antagonistic. We go 
about our business but Bobby, as himself, is 
a child in some ways and is always getting us 
into trouble because of the relationship he 
has with this spirit guide who works through 
him. The spirit guide that lives inside Bron- 
son doesn't want me to screw around with 
this nun. So, we have a tug of war over her." 
(continued on page 63) 

26 ST P&LOG/ January 1989 




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John Schuck 

Klingon of a 
Thousand Faces 


Behind the grim visage of an alien 
ambassador lurks a mirthful monster, a 
riotous robot and a dancing zillionaire. 


This is John Schuck (on the outside) with 
"wife" Sharon Gless inside. For the TV 
fantasy Turnabout, they switched 

On stage, his roles have been more varied: 
he has appeared in The Caine Mutiny Court 
Martial opposite Charlton Heston, as Cap- 
tain Hook in Peter Pan with Cathy Rigby in 
the title role, and as Daddy Warbucks in 
Annie on Broadway. His first movie stints 
were for eccentric, imaginative director 
Robert Altman, in M*A*S*H, Brewster 
McCloud, Thieves Like Us and McCabe 
and Mrs. Miller. He still appears around the 
country in regional theater (his first love), 
and continues to make feature and TV 
movies. Most recently, he played the gung- 
ho government agent in Outrageous Fortune 
and Captain Longstocking in The New 
Adventures of Pippi Longstocking. He co- 
stars in two forthcoming films, Second Sight 
and My Mom 's a Werewolf. 

And yet many still haven't put together 
the actor's name with John Schuck's 
familiar face, which was almost totally hid- 
den in Star Trek IV. 

Partly thanks to his ex-wife, a friend of 
Leonard Nimoy's, Schuck was called in to 

John Schuck, who made an incredible 
impression as the unnamed Klingon 
Ambassador in Star Trek IV, is happy 
to be what he is — a reliable character actor. 
He loves not being the star. "It's much more 
fun to come in and do the other stuff," 
Schuck says with a smile. "(A) you don't 
have to work as hard, but (B) the parts are 
much more interesting. I would much rather 

BILL WARREN, veteran STARLOG cor- 
respondent, is the author of Keep Watch- 
ing the Skies Vols. 1 & 2 (McFarland, 
$39.95 each). He profiled Alan Young in 
STARLOG #132. 

play the character roles I do than the leading 
guy. As long as you're able, you can keep 
working. Longevity is terrific." 

Schuck is best known to audiences for his 
amiable knucklehead roles in such TV series 
as McMillan and Wife, in which he played 
Rock Hudson's sidekick, earnest but 
overenthusiastic Sergeant Enright, and the 
all-new The Munsters Today, in which he 
:akes over for Fred Gwynne as Herman 
Munster. His part as the dignified, powerful 
Klingon politician, which he touched with 
elements of the savage, was more in keeping 
with his theatrical roles, than his cheerful 
"all- American boob" TV characters. 

Richard B. Shull was the human detective. 
Schuck, his robotic partner. Together, they 
were Holmes and Yoyo. 

28 STARLOG/January 1989 

read for the part of the Klingon Am- 
bassador. "Leonard Nimoy took the inter- 
view with me, and the first thing he said 
when I walked into the office was, 'I don't 
think this is going to work.' That always 
makes one feel very much at ease. When I 
asked him why not, he said it was because I 
was too young. 

"I said, 'Well, I played Daddy Warbucks 
in Annie on Broadway without anything ex- 
cept straight makeup, and he was in his 60s 
and I was 39 at the time.' I happened to 
notice a drawing on the desk. 'That's a 
beautiful rendering,' I said. 'Who did it?' 
He said it was Bob Fletcher, the costume 

Schuck grins broadly, something the 
good-natured actor does often. "I told him I 
had worked with Fletcher at ACT, and ask- 
ed to see it. Leonard said that it was, in fact, 
the part I was up for. Bob had shown an 
awful lot of facial hair; the Ambassador had 
a beard that was white with grey. My im- 
mediate response was, 'Leonard, my six- 
year-old boy could get dressed up in this and 
look the right age. I would really like to try 
it.' I ended up reading— and I ended up get- 
ting the part. Now that was very, very nice." 

Alienated Diplomat 

Schuck was fascinated to be suddenly 
caught up in an old-style Hollywood swirl of 
costuming and makeup. "Costume fitting at 
Western Costume involved many people, 
because we had to have boots made 
specifically for me. We had an extraordinary 
amount of jewelry and gloves, and all that 
had to be designed and fitted to be used just 
for these two days. It was very exciting to be 
attended to in that way, and be able to give 
input into the character. I was very concern- 
ed, since mistakes had happened on a 
number of occasions, that the cape had to 
be weighted properly, so that it didn't pull 
me backwards and, at the same time, 
without knowing what the blocking was, if I 
had a quick movement I didn't want to find 
10 yards of material under my feet to fall 

Once the costume was in place, Schuck 
submitted himself to the ordeal that every 
actor who appears in heavy makeup faces. 
"It involved taking a full head cast. They 
bury you under mounds of dental com- 
pound, making a positive mold out of that 
upon which they built the appliances. Then, 
putting it on for the first time, seeing what 
areas were weak, how it worked involved a 
good half-day. Finally, once all that was 
done, we were into the shoot. 

"I showed up for work at 3:00 a.m. the 
first day. And again it was exciting, because 
around 4:00 a.m., all these other people who 
are in that assembly hall were there, so sud- 
denly there were 25 makeup people, there 
were all these hair people, and you really 
had this throwback to the days of 
Hollywood extravagance." 

But the costume and makeup are only in- 
cidental, though useful, tools. The real per- 
formance comes from the actor, and Schuck 
made what amounted to a small role into a 
character so strong that he virtually stole the 

first third of the film. "My image was of a 
man of the stature of King Lear or any of 
the Shakespearean greats, a man of passion 
and conviction, so that what we did not 
have in this scene was a man who was just 
crying out in the world merely because 
Klingons are mad, angry people. I wanted to 
have someone of passion, who was convinc- 
ed that his people were justly wronged. I felt 
that was a very positive attitude to have, 
especially since Klingons could now speak 
English, rather than Klingonese as they did 
before [in the other films] . I wondered how 
the actors ever learned all those grunts? 

"I used a very vocal approach to the Am- 
bassador, and felt that I did do him as a very 
stentorian orator, extremely skilled and 

shrewd in how he chose his words, and he 
loved doing it. There was that sense of being 
on stage about the character," says Schuck. 
"I don't know whether I took the scene — I 
wasn't trying to — but I certainly felt that I 
commanded attention as someone of 
stature, and that was primarily all I wanted 
to do for that small amount of time. And 
Leonard went along with all that. As a 
director, he was very, very supportive. 

"Once on the set," Schuck adds, "it was 
similar to other pictures, except that it was 
much more fun, because in addition to real 
people, they had all these bizarre creatures 
that worked, that moved. At one point, we 
were in a break, waiting for a lighting set- 
up. I remember leaning against this gallery 

STARLOG/January 1989 29 

where they all sat, and turning to one person 
and asking, 'How are you holding up?' Not 
getting any response, it took me a few 
seconds to realize it was a machine, not a 
real person. It was like bumping into a man- 
nequin at the department store." 

Though the scene with the Ambassador 
took only two days to shoot, Schuck was 
happy to have the role. "There was a real 
sense of camaraderie, that we were all in- 
volved in an adventure. I've never been a 
Trekkie; I was working in the theater when 
it was first on, so I never saw the early Star 
Trek shows. It's only recently that I've been 
able to see them. But there was a feeling on 
this picture that was different than on other 
pictures in that we weren't worried about it 
being a success; we felt like we were continu- 
ing a tradition. Very, very interesting." 

Because his usual acting persona is so dif- 
ferent from the bear-like Klingon Am- 
bassador, unlike many Star Trek guest stars, 
Schuck has had no recognition at all from 
the public for his vivid cameo. "Except in- 
terviews like this," he says with another big 
grin. "I've heard people say that they realiz- 
ed it was me only when they recognized the 
voice, /didn't feel I looked that different in 
the makeup. I said, 'Four-and-a-half hours 
and look, no difference.' " 

On the other hand, he was noticed by one 
influential person. "Gene Roddenberry was 
on the set one day and loved the humanness 
I brought to the character. He felt that 
maybe the time had come for the Kling- 
ons — not that they shouldn't be adversaries 
and a dark, moody group— to be a little 
more accessible, make them a little more in- 
teresting in that way [in The Next Genera- 
tion]. But that presumption has yet to pay 
off in terms of anything I've seen." 

Schuck is somewhat critical of the Kling- 
on makeup on Star Trek: The Next Genera- 

tion as well. "I don't like the makeup for 
television very much at all. I think it's very 
arbitrary. They've simplified too much. I 
think they could do better. One of the things 
that I had not liked in Star Trek III was the 
difference between the color of the pro- 
sthetic pieces and the skin tones. And I 
found out that they used two different bases 
for those. I said that I was only going to be 
there for two days, so use the same on my 
face as the latex. They warned me about it, 
and indeed by the end of the second day, I 
had very little of my original skin left, but I 
felt that it contributed strongly to the look." 
Schuck, who like many viewers of the 
film, expected the Ambassador to return at 
the end, had no idea that at one point, Ed- 
die Murphy had been expected to play the 
same role. "Somehow, he made a better 
deal with Paramount. Maybe I need to have 
30 people follow me into a career." 

Human Machine 

After several years following Rock Hud- 
son and Susan St. James around San Fran- 
cisco in McMillan and Wife, John Schuck 
co-starred in a short-lived series with 
Richard B. Shull. It was more cop stuff, on- 
ly this time comic and even science fic- 
tion— Schuck played a robot. Producer 
Leonard Stern had hopes for Holmes and 
Yoyo, but it only lasted a few months, in fall 
1976. Shull was Detective Alexander 
Holmes, whose tendency to accidentally 
send his partners to the hospital resulted in 
his being assigned Gregory "Yoyo" 
Yoyonovich (Schuck), a robot with the 
usual sitcom robotic proclivity to take 
everything literally and become fouled up at 
the worst possible moment. 

"I was playing a machine, but had to 
have human qualities," Schuck says. "So, 
finally one I decided on was innocence; I 

spent a couple of days just watching my 
dog, who I felt was about as innocent as a 
baby. I didn't want to create someone who 
was necessarily logical. Yoyo always 
malfunctioned, so he could make extreme, 
very drastic changes, physically." 

The show had possibilities, Schuck says, 
but also problems.' "I think it would have 
been much better if we had been allowed to 
prepare more consistently. We got a little bit 
more childlike a little too easily. I wanted 
much more real verbal wit of the old two- 
man comedies, a much better sense of 
writing. I was sorry we didn't have stronger 
mysteries to be solved, even though it was a 
half-hour. There were a few episodes that I 
really enjoyed; three out of the 13 or 16, or 
whatever it was we did, wasn't a bad percen- 
tage for the start of a program." 

Later, Schuck felt courageous enough as 
an actor to tackle the kind of a role that has 
daunted the best. In the short-lived series 
Turnabout (loosely based on the Thorne 
Smith novel), he and Sharon {Cagney and 
Lacey) Gless played a husband and wife 
who magically switched bodies. Schuck had 
to play, therefore, the wife masquerading as 
the husband. The pilot, directed by Richard 
Crenna, was excellent, and Schuck and 
Gless were both funny yet believable. 
Schuck opted for subtlety: If his character 
had to answer the phone, for instance, he 
("she" inside) would toss a non-existent fall 
of hair out of the way, in a nod to deeply- 
ingrained habits. 

But once again, a promising premise was 
damaged by obvious jokes. "I felt that Sam 
Denoff and company opted for simple jokes 
too easily," Schuck says. "I wanted to do 
something where the problems of role- 
reversal were a little less obvious than those 
being used; I felt even more than with 
Holmes and Yoyo that the show had a 

chance to be really quite something. We had 
a wonderful time doing it; Sharon Gless was 
really special as the man, and I had a lot of 
fun playing a woman. Here again, I had no 
instincts to follow, so it was always a learn- 
ing experience. There was a real problem 
with how to act feminine without being ef- 
feminate or campy. I love Thome Smith, 
and I have read many of his books, but for 
this, no. I thought it best to approach the 
material as is, and again concentrate on the 
vulnerable side of this particular character. I 
wasn't afraid to show that feminine nature 
of mine, that softness. I felt that you had to 
embrace the problems of a part and go for 
it. I see challenges, not risks." 

And he finds new challenges every week 
on his syndicated TV series, The Munsters 
Today. Good old lovable goof Herman 
Munster has lumbered back to 1313 Mock- 
ingbird Lane, but Schuck's decision to take 
over this role was motivated as much by 
pragmatism as anything else. 

"Any of these parts brings to you a cer- 
tain power. Economically, you can live for a 
few months without having to seek work, 
but more importantly, television brings me 
an audience so that I can then appear in 
something else, and people will come to see 
it because they know me. It's a tremendous 
advantage for an actor to have. Perhaps it 
sounds callous, but I firmly believe that's an 
asset, an addition; it's a tool, however you 
want to phrase it. 

"So, with The Munsters Today, when 
they asked me to play Herman, my first re- 
sponse was, 'Oh.' That lasted for a second, 
and I said, 'Well, let me think about it.' I 
called back a couple of hours later and said, 
'Absolutely.' My thinking was this: All I've 
really done the last few years in television 
were not parts, they were professions. A 
lawyer, a policeman, they were all the same 

According to the Trek IV novelization, the 
Ambassador does have a name: Kamarag. 

person, just different professions. But I 
thought that Herman Munster is an unusual 
creation, one I could do many wonderful 
things with. I like the child in me as well, 
and it's fun to have that adult-child. I like 
the concept of a show that deals with a fam- 
ily unit. I also realized we were going to be 
much different from the first one, which 
was wonderful. Then, it proved to be a chal- 
lenge: How can I create my own Herman?" 
Create him he did, however; the makeup 
is a little less extreme, and the budget 
perhaps a little lower, but the series was 
completed. Shooting was temporarily halted 
by the writers' strike in Hollywood, but 
Schuck donned the black clothes, bluish 
makeup and neck bolts to shoot 10 more 
when the strike was settled. 

Tap-Dancing Monster 

This was not, however, the first time he 
played Frankenstein's Monster. The first, he 
reveals, "was done on film, a wonderful lit- 
tle [TV project] that we made in a mansion 
in upstate New York. That Frankenstein, all 
(continued on page 63) 

ST ARLOG/ 'January 1989 31 

p Michael Ansara 

V'. Klingon with a Cause 

Antagonist or ally? Not even this veteran actor knows the whole 

truth about Commander Kang. 

Is this your favorite Klingon? Michael 
Ansara as Kang. 


What a magnificent character to 
play!" actor Michael Ansara ex- 
claims, thinking back on his por- 
trayal of the Klingon Kang in Star Trek's 
"Day of the Dove." Jerome Bixby's script 
had Kang, his wife and crew unwillingly 
transported aboard the Enterprise after their 
vessel was mysteriously destroyed, but 
dislike and mistrust between the Klingons 
and the Enterprise crew only accelerate into 
blind hatred. Matters aren't helped when 
swords suddenly materialize into the hands 
of everyone on board. 

But Kirk and Kang stop their death strug- 
gle long enough to realize they've been used 
as pawns by an alien entity aboard the 
Enterprise, a spinning blob of light that laps 
up hate and conflict with avaricious delight. 
Throwing down their weapons, the men 
literally laugh the creature off the starship, 
and for once, there seems to be a new 
understanding between the Federation and 
the Klingons. 

Did the two captains go on to become 
friends? Michael Ansara is interested to find 
out himself, and would have been willing to 

continue the role on Star Trek. However, 
the opportunity to again play Kang never 
presented itself. The series was cancelled 
soon after "Day of the Dove" aired. 

Ansara still ponders the possibility of 
reprising the role, though, and reveals, "I've 
seen the Star Trek films, and I've enjoyed 
them, but I must admit, I missed seeing 
myself up there on the big screen as Kang. 
What's amazing is that even today, I still get 
recognized for that part. It is pleasurable 
and always positive, but surprising. I played 
that character almost 20 years ago, but peo- 
ple still remember. 

"Immediately, just from reading the 
script, I knew how special the role was and 
how rare it was to find a character like this 
in either television or film. Kang had nobili- 
ty and that's a quality that I have always 
been fascinated by. He also reminded me of 
some of my previous roles — Cochise, the 
Apache Chief in Broken Arrow [Ansara's 
1950s series] and Deputy Marshall Sam 
Buckhart, whom I played in the Law of the 
Plainsman series. They both had many of 
the same qualities as Kang and that in- 
terested me." 

Particular anecdotes don't spring to his 
mind but the production's tremendous 
energy level remains one of Ansara's 

strongest Trek memories. 

"Star Trek was a pleasure to do," he 
says. "Very rarely do things go that 
smoothly, but in filming 'Day of the Dove,' 
my fellow actors, the director, Marvin 
Chomsky, and the basic story settled in well 
together from the very beginning. 

"I had worked with William Shatner and 
Leonard Nimoy in other projects previous 
to Star Trek as well as with George Takei 
and James Doohan, and I found them very 
easy to work with. Very talented actors." 

Ansara, who has admitted his interest in 
space travel and the possibilities of extra- 
terrestrial life, found the 23rd century Star 
Trek sets "added to the whole enjoyment of 
doing the show. Really, Star Trek was way 
ahead of its time and that's why it has en- 

Born in Lowell, Massachusetts in 1922, 
Ansara made his film debut in 1944's Action 
in Arabia but it was his role as Judas in the 
1953 film The Robe that drew acclaim. 

In 1956, he accepted the starring role in 
TV's Broken Arrow, which ran two seasons 
on ABC. Ansara, who is of Lebanese 
ancestry, had been cautioned about doing 
the series due to the possibility of 
typecasting. Yet after the show ended, a 
wide variety of parts followed, including the 

Kang (Ansara) has the distinction of being the first wedded Klingon to appear with his 
wife and science officer, Mara (Susan Howard) in "Day of the Dove." 

32 STASIJOG/Jahuary 1989 

role of the religious fanatic in the 1961 film 
Voyage to the Bottom of the Sea. As 
Alvarez, Ansara played a fundamentalist 
who tried to stop the submarine Seaview 
from extinguishing a fire lodged in the Van 
Allen Belt. 

Impressed by Ansara's ability to bring 
sensitivity and believability to that character, 
producer Irwin Allen signed the actor up as 
a guest for several of his 1960s science- 
fiction series. Ansara's first TV role for 
Allen, as a Russian demolition expert in the 
Voyage episode "Hot Line," resulted in 
praise from several critics who were im- 
pressed by the segment's depiction of the 
Russians and Americans engaged in friendly 
collaboration to disarm a nuclear warhead. 

From there, Ansara played a bald 
renegade submariner in another Voyage 
episode ("Killers of the Deep"), an austere 
Iron Curtain official on The Time Tunnel 
("Secret Weapon") and an intergalactic, 
gold-skinned zoo keeper in another Time 
Tunnel adventure, "The Kidnappers." 

His 1965 appearance on a Lost in Space 
segment, "The Challenge," required him to 
battle star Guy Williams in a duel, which 
showcased Ansara's sword-wielding talents. 
The role of Megazor, in another Lost in 
Space segment "Hunter's Moon," had 
briefly been considered for Ansara, though 
the late Vincent Beck eventually played it. 

Ansara's last science-fiction role for Allen 
was as an obsessed colossus in Land of the 
Giants in 1969 ("On a Clear Night You Can 
See Earth") but Ansara admits Allen's 
shows were business as usual and compared 
to some of his favorite roles, he says, "the 
Irwin Allen productions were just OK." 

Aside from making regular appearances 
as the Blue Djin on / Dream of Jeannie 
(which starred his then-wife, Barbara Eden), 
Ansara also found time to menace The Man 
from U.N.C.L.E. Yet one of Ansara's most 
memorable and powerful genre perfor- 
mances was as the futuristic warrior in The 
Outer Limits episode "Soldier" (1964). 

"Soldier" was adapted by Harlan Ellison 
from his own 1957 short story and centered 
on Qarlo Clobregnny, a solider who has 
been molded by a futuristic state to kill and 
do nothing more. When he's accidentally 
hurled back to 1964, Qarlo finds sanctuary 
(and benign prisonership) with a kindly 
language expert (Lloyd Nolan) and his fami- 
ly. Unable to grasp 20th century English, 
Qarlo lashes out at this new environment 
with rage and mistrust. Although Qarlo 
seems to develop feelings for the family, 
whether he actually does or not is left to the 
discerning viewer. Qarlo faces off with his 
enemy, another soldier from the future, and 
is killed in a climactic battle with his foe. 

Ansara, who is aware that the episode is 
held in high esteem by SF fans, found the 
role unconventional and challenging and 
played it with a mixture of driven fury and 
vulnerability. "I have good memories of 
working on The Outer Limits," the actor 
says. "Qarlo remains one of my favorite 
roles. He was a great character to play." 

During the last decade, Ansara has kept 
busy in television and films, appearing in TV 

Somewhat ahead of his time, Ansara was a mad fundamentalist who took a Voyage 
to the Bottom of the Sea. This film role would lead Ansara to further TV journeys with 
producer Irwin Allen. 

In one way or another, Michael Ansara has 
always found a way to humanize a 
villainous role. 

shows such as Romance Theater, Greatest 
Heroes of the Bible, Fantasy Island and as 
the villainous "Killer" Kane on Buck 
Rogers. His film roles have included Dear 
Dead Delilah (1972), It's Alive (1974), Day 
of the Animals (1977), The Manitou (1978) 
and Assassination (1986). 

Eager to learn about new civilizations, 
even here on Earth, the popular actor con- 
fides, "That has been one of the best, most 
rewarding things about being an ac- 

Star Trek's cancellation cut short plans to 
have Kang return to resume his 
relationship with Kirk (William Shatner). 

tor— traveling throughout the world, 
meeting all kinds of different people and 
learning about other cultures." 

Nobility and virtue are some of the 
characteristics that attract Ansara to the 
roles he plays. He has shunned anti-hero 
leads and even his villains are given some 
degree of heroism. "We're all human," the 
actor says. "We have our foibles, we've 
made our mistakes and yet there is still 
greatness." •& 

STARLOG/January 1989 33 

'M The Guests off ^ 

*'■ " Trek " ■■«•. 

Campbell also menaced the Trek crew as 
Trelane, "The Squire of Gothos." 

34 ST ARLOG/ January 1989 

Is this your favorite Klingon? William Campbell 
as Koloth in "The Trouble with Tribbles." 


n October 1987, Star Trek fans saw 

something new on the bridge of the 

Enterprise — a regular Klingon character. 

They probably didn't realize, however, that 


the idea of a member of the "Evil Empire" as 
something more than a one-shot villain was 
nearly as old as Star Trek itself. William 
Campbell's Captain Koloth ("The Trouble 
With Tribbles") almost became the second 
"non-human" regular in 1968. 

"I had signed a deal with Gene Coon for 
13 shows," says Campbell, the same actor 
who portrayed the flamboyant "Squire of 
Gothos" in that first season episode. The late 
Gene L. Coon, producer for Star Trek's first 
two seasons, had conceived the idea of a run- 
ning foil for Captain Kirk early on, with 
Campbell in mind. Because Trelane was so 
memorable, it was decided to wait until the 
second season to finally introduce Koloth, 
but he was immediately popular with fans 
and the creative team alike. 

"I recall Gene asking what I would do with 
the part," Campbell says. "I said I wanted to 
play something like Flagg and Queeg from 
the old movie serials — always at each other's 
throats, but if someone beat up one of us, the 
other would rush to his aid, saying, 'No one's 
gonna beat him up but me!' " 

He remembers Coon being delighted with 
the idea they discussed. At the time, the pro- 
ducers were "starting to fret" over storylines 
getting stale and repetitive, and wanted to 
throw in some fresh, human (and Klingon) 
elements. When Star Trek was cancelled after 
its second season, however, Coon declined to 
continue producing even when a third season 
was later contracted. New producer Fred 
Freiberger had ideas of his own, and Captain 
Koloth was lost in the executive shuffle. 

Campbell (interviewed in depth in 
ST ARLOG #128) thinks highly of the Kling- 
ons as characters, calling them "the perfect 
adversaries." Koloth himself would have 
been Kirk's equal in charisma, strength and 
"sex appeal," he laughs. "I'm taking license 

The actor isn't pleased, though, with the 
"refitting" Klingons have undergone. 
"When people saw the first movie, they said, 
'What the hell is that?' You can't have a guy 
with a head like a crab become a rival.' " 

As for Lieutenant Worf, Koloth's spiritual 
"descendant," Campbell is afraid audiences 
will be unable to identify with him because he 
is "too alien," no matter how well Michael 
Dorn plays the part. Campbell expresses 
similar misgivings about LeVar Burton's 
Geordi LaForge and Brent Spiner's Data. 

Still, he would be happy to appear in Star 
Trek: The Next Generation if offered a part 
"with the uniqueness of the Squire and the 
significance of Koloth." William Campbell 
feels that perhaps a regular villain would help 
the show return to "the same sort of 
amalgam" as the original series, giving it 
"some more human qualities." 

— Steven H. Wilson 


After portraying his share of Klingons, 
Vulcans, Romulans and gorillas over 
the last decades, Mark Lenard faces one for- 
midable fact . He has spent literally months of 
his life, sitting in a makeup chair waiting to 
become a man behind the mask. 

"Months? Oh, don't put it that way," 
Lenard good-naturedly complains. "That's 
really scary. 

"But it is true. With the Klingon and 
General Urko on Planet of the Apes, I've 
spent a great deal of time in makeup. I don't 
know that I could do anything elaborate like 
that anymore. I might do it for a movie, but 
for a TV series again? I don't know that I 
could. It's.really tough." 

Lenard (who discussed his career exten- 
sively in STARLOG #42, 86 & 1 18) has often 
acted alien. He took his head off in Buck 
Rogers after masking up earlier as the gorilla 
antagonist Urko in TV's short-lived Planet of \ 
the Apes. And, of course, in the world of Star \ 
Trek, he has been Vulcan (Spock's father ' 
Sarek in "Journey to Babel," Star Trek III & 
IV), Romulan ("Balance of Terror") and 
Klingon (Star Trek: The Motion Picture). 

"When the first Trek film came along," 
Lenard recalls, "Gene Roddenberry called 
me in and said he would like to have me in the 
picture, but there was no part for Sarek, only 
a Klingon. I never thought I would play a 
Klingon, but I said, 'Sure, I'll do it.' 

"The Klingon makeup was hard to deal 
with. It was very hot and uncomfortable, just 
as bad as Planet of the Apes. Since then, 
they've modified the Klingon makeup a bit so 
now you show a little more of the face and can 
distinguish who's who. When I did it, you 
could only tell one Klingon from another 
because one was skinny, another fatter, 
another taller." 

He doesn't believe that the mounds of rub- 
ber latex limited his abilities. "As an actor, 
you just become very intense," Lenard ex- 
plains. "When I played Urko, they said only 
people with good, expressive voices who 
could act with their eyes should play the apes. 
That isn't true. If the appliances are put on 
well and they're made for you (as they were 
for that show's principals), your face can be 
kind of expressive. But it's a piece of rubber 
that just lays there unless you do something. 
You have to animate it. In order to animate it, 
you have to work very hard, putting a lot of 
vitality, a lot of intensity into your face. It's 
much more than just using your voice; maybe 
some people do it by voice alone, but I don't. 

"It's like playing a very strong character 
role. Everything has to be slightly exag- 
gerated but done very truthfully and maybe a 
little bigger. The same thing with the Klingon. 
He was so full of hair, and it was so hot — and 
it itched. And the costume was all that 
beautifully made leather stuff, tight and stiff. 

"In doing it, I had to speak Klingon- 
ese — and they were poking the camera in my 
eyes. I had to look up and shake — we were 
under attack, you know and when you're 
under attack, the camera shakes and you do, 

Then, could this be your favorite 
Klingon? Mark Lenard as the 
Commander in Star Trek: 
The Motion Picture. 

Lenard and Next Generation pal Marina 
Sirtis get to know Mickey Mouse during an 
Orlando Vulkon visit to Walt Disney World. 

too. I stood up behind the chair. I was shak- 
ing the chair and shaking myself and trying to 
act this scene. 

"Robert Wise, the director, said, 'Well, we 
can do the scene in little pieces.' I said, 'No.' 
So, I did this whole paragraph — and to try to 
remember it and to shake and to look up so 
the light was in my eyes and to act a bit and to 
get the Klingonese, it was a chore. Mainly, it 
was physically uncomfortable." 

Lenard has recently come down from the 
stars to narrate a show about extraterrestrial 
life for New York's Hayden Planetarium. A 
more Earthbound pursuit found him starring 
in Pilgrim of Flame. Shot in Europe and set in 
the 1500s, this film focuses on the Anabap- 
tists, the main contingent of the radical wing 
of the Reformation which eventually 
metamorphosized into the much less radical 
Mennonite movement. 

"There's a great deal of action in it," 
Lenard says, "but it's really about a religious 
uprising and the Hapsburg Empire. It's a 
dramatic story about this man who becomes 
sort of a patron saint of the Anabaptists. At 
the time, the Turks were invading Christiani- 
ty and were stopped at Vienna. I collect the 
taxes and conduct the trials and burn the 
heretics and fight the wars, doing battle on 
these enormous jumping horses the size of 
Clydesdales and slashing around with a 

sword in full armor. For a while, I thought I 
was Superman." 

Nevertheless, Lenard isn't likely to add a 
Kryptonian to his ensemble of extrater- 
restrials. He's content with the aliens he has 
portrayed and the ones he might play again, 
even Klingons. "I will play anything," he 
asserts. "I'm available to do anything. 

'■'One thing that I've learned in the thea- 
ter — never turn anything down out of hand. I 
never refuse to audition either because I can 
always turn it down afterwards. You never 
know what one little thing is going to lead to a 
great, enormous thing; it has happened to me 
numerous times. So, of course, I'll play a 
Klingon again," Lenard pauses dramatically, 
"if the money is right and the part is good." 

Looking back on his fellow aliens, he isn't 
sure that he wants to name a favorite Kling- 
on. "That's an unusual question," he says. 
"Christopher Lloyd was entertaining in Trek 
III, though I suspect playing a Klingon is 
more serious business than he made it. 

"I've worked with John Schuck [page 28] 
in Star Trek IV and he gave it all he had — or 
almost all he had. Michael Ansara [page 32] 
was a great Klingon. So was the Canadian ac- 
tor John Colicos [page 17], a very good Kling- 
on. And," Mark Lenard's eyes twinkle, "I 
wasn't a bad Klingon either." 

— David McDonnell 

CT A O T /~V/~> / T~ 

mort ir 

The Mod Squad— Clarence Williams III, Peggy Lipton, Andrews, Michael Cole— was 
"much like Star Trek," Andrews says, "in the camaraderie amongst the characters." 


The next time the Star Trek episode 
"Friday's Child" airs, picture the actor 
playing Kras the Klingon somewhere else: as 
Private Gander, serving with Sergeant 
Bilko, or as cigar-puffing Johnny Russo, 
one of The Detectives, or as Captain Adam 
Greer, leading The Mod Squad. 

Tige Andrews played them all. Infusing 
Kras with a wicked laugh and wearing a 
beard that looked like it was groomed with a 
machete, the actor made his first science- 
fiction appearance on television. As the 
diabolical Klingon, he tried to wrangle a 
mining agreement with the honorable 
Capellans but ended up short-circuited by 
his own treachery. 

"This was the first time that I had been 
given the opportunity to wear a costume in a 
film role," Andrews explains, "and I was 
very much into the role. I particularly 
remember feeling more like 'someone else' 
during the filmmaking. It was a fun part." 

Aside from feeling the character creep up 
on him, memories about working on "Fri- 
day's Child" don't come especially easy for 
the actor, who admits, "It has been a long 
time, 20 years. In fact, 'Friday's Child' is the 
only filmed work of mine that I have not 
seen. I've missed the reruns, although I hear 
from people whenever it plays. 

"I had just met William Shatner prior to 
doing the episode, and I had enjoyed Star 
Trek before doing 'Friday's Child.' When 
the producers offered me the jple of Kras, I 
was very pleased to do it." 

Location work for "Friday's Child" took 
place under the sweltering sun in the Vas- 
quez Rock formations, just outside of Los 
Angeles, in May 1967. 

Andrews doesn't recall any problems dur- 
ing shooting, but he acknowledges, "There 
were a couple of ruined takes that tested my 
sense of humor. I later became quite close to 
Bill Shatner. We had a couple of small 
business deals going. He used to stop by our 
house with his pet Dobermans, which my 
kids loved to play with." 

The actor has good feelings about being a 
part of the Starfleet saga. "I didn't have any 

second thoughts about doing a science- 
fiction series like Star Trek" he says. "I 
don't think many actors do. All people are 
interested in science fiction to a point. Once 
you're in the category and feel the excite- 
ment of the unknown, you go with it. You 
can't help but enjoy it. Now, I might have 
had some reservations had I to play Bill's or 
Leonard Nimoy's roles in Star Trek. 

"I'm part of the majority. I have seen 
much of Star Trek because I enjoyed it. It 
was a well-written series, with good produc- 
tion values. I'm a fan." 

The Brooklyn-born actor built a solid 
reputation on the stage in the 1940s and ear- 
ly 1950s in such productions as Macbeth and 
The Threepenny Opera, in which he sang 
"Mac the Knife." 

When he made his film debut at 32 in Mr. 
Roberts (1955), he was still known as 
"Tiger" Andrews, which he had shortened 
to "Tige" by 1959, when he became one of 
Robert Taylor's Detectives for three 

seasons. The series also co-starred Adam 
{Batman) West (STARLOG #117) and 
Mark (Lost in Space) Goddard. 

Despite his rough, tough image, the actor 
admits that he prefers comedy "and any role 
with an accent. My favorite was a Greek 
farmer in a Big Valley episode ["A 
Wagonload of Dreams," 1967]." 

Yet the role most people recognize An- 
drews for today began in 1968 when he star- 
red as Captain Adam Greer on the Harve 

Bennett-produced crime series Mod Squad. 
< His realistic portrayal of the fair-minded 

1 police captain earned him an Emmy 

* nomination in 1970. 

1 "I love playing characters with a tender 

• side," Andrews comments. Only recently, 
1 he has gotten reacquainted with The Mod 

Squad, "I've been watching it in reruns on 
weeknights with my family, and all I can say 
is, wow! How young and good-looking I 
was. If only I had known it then!" 

"Seriously, Mod Squad's strengths were 
derived from the stories and the camaraderie 
amongst the characters. In that regard, it 
was much like Star Trek." 

After Mod Squad ended its five-year run 
in 1973, Andrews was seen less frequently. 
Many people had associated him too well 
with Adam Greer. Still, the versatile actor 
managed to land good roles on shows like 
Kojak and Police Story. He even brought 
some pathos to the title character in The 
Werewolf of Woodstock, a camp-cluttered 
curio made for ABC in 1975. 

Between roles, the actor has developed his 
skills as an artist and recently had some of 
his paintings on public display. 

Of Hollywood's ups and downs, Tige An- 
drews notes, "I have always had a good 
sense of humor, which helps to keep things 
in perspective. It has served me in good 
stead throughout my life and career." 

— Mark Phillips 

So, is this your favorite Klingon? Tige Andrews (center rear) in "Friday's Child." 

36 SYAKLQG/ January 1989 

Michael Dorn * 

Klingon warrior - * 

I'm just dying to see what your makeup 
looks like!" Two women have stopped 
to examine Michael Dorn. "Isn't that 

Dorn is sitting in the Paramount com- 
missary wearing his full Klingon makeup 
and Starfleet uniform, trying to eat his lunch 
and do an interview, but he graciously turns 
his attention to the two women. 

"She thinks she's in love!" the second 
woman exclaims. 

"Well, you can't tell!" replies the first 
woman, trying to discern the man beneath 
the makeup. 

"Which show is it?" asks the second 

"Star Trek" says Dorn. 

"I thought it had to be Star Trek" the 
woman replies. 

During the filming of Star Trek: The 
Next Generation's first season, the man 
beneath the makeup grew used to that sort 
of reaction, but not annoyed by it. He is 
pleased at the way the Klingon Worf has 
grown from something of an afterthought 
(he wasn't even mentioned in the original 
series bible) to one of the fans' favorites. 

"He was planned to be a regular, not 
a major regular. Worf was only going to be 
in a certain amount of shows — not as many 
as he has been in. He was only supposed to 
be in 14 episodes. As soon as they saw the 
dailies of the first episode, they thought that 
Worf had presence — that he was in- 
timidating. So, they [the producers] changed 
their minds," Dorn says. "They thought he 
was supposed to be another alien. They 
didn't realize when they wrote him that he 
was going to have that presence. I mean, he 
can be sitting somewhere in the background, 
and you know he's there. That's what they 
told me." 

Michael Dorn, a man who used to worry 
that he was being typecast with a clean-cut, 
"nice-guy image," reflects on where that 
presence comes from. "There are many dif- 
ferent things. His size, the makeup, the 
character, the voice." 

The makeup that transforms a genial ac- 
tor into a stern Klingon results from two 
hours of work each day by makeup artist 
Michael Westmore, for whom Dorn has 
high praise. The voice, however, which is 
only slightly different from Dorn's normal 
voice, came from a discussion with Gene 

"He didn't want Worf's voice to be a 
regular human, nicely educated one," says 
Dorn. "He wanted it to be something dif- 
ferent. Not something totally alien, but 
something that is discernible from all the 
others. And all we did was just lower it, and 
make it a little more gruffer, and keep it 
pretty much a monotone." 

Then, this must be your favorite 
Klingon? Michael Dorn as Worf. 

He's the only one who wants to fight for the 

Federation, which makes the actor wonder 

about this warrior, Worf. 


And that's pretty much the way he likes 
Worf5 character as well — a little gruffer, a 
little more serious than everybody else. 
There is a place for humor in Worf's 
character, Dorn thinks, but of a very par- 
ticular kind. "Basically, he doesn't think 
he's funny — and that's what makes him 
funny. In a couple of shows, I've had one- 
liners that are funny because everybody else 
is laughing and Worf is looking around go- 
ing, 'What's so funny? What did I say?' " 

However, the actor wouldn't like it if it 
evolved to the point where "everybody 
looks at him for a laugh, you know, because 
it really takes away from his strengths," says 
Dorn. "My character has been very serious, 
and I play him that way. It's very seldom 
that you see any type of levity from me. I 

LOG correspondent, examined Dr. Science 
In issue #132. 

STARLOG/January 1989 37 

mean, sure, we iaugh and joke about things, 
but in terms of stuff happening around me, 
I'm very subdued because it belies Worf if 
I'm not in character when the cameras roll. 

"After all, Worf is very straight-laced. He 
doesn't really deviate too much from 
anything he knows — his job. He doesn't do 
anything less than that, but he does do more 
than that due to his intensity." 

Worf's relationship to his fellow crew 
members, though, is still a bit aloof. "He 
feels that he is somewhat superior in some 
ways. I don't think he feels that he is 
superior to the Captain or the officers above 
him, because as one, you realize that those 
officers are above you for a reason. But 
those who are his rank and below — he feels 
that he's their better because he's more 
militaristic than anybody else. He's the only 
Klingon in Starfleet." 

Klingon Comrades 

There is no aloofness among the actors, 
however, who appear to get along very well 
with each other. There was, admits Dorn, a 
small amount of awkwardness for him dur- 
ing the first few weeks because "everybody 
had pretty much established attachments 
with each other in a group, and they didn't 
know if this character [Worf] was going to 
be a regular or if he was just a one-shot deal. 
They were always nice to me, but you got 
the feeling of being the new kid on the 
block. That dissipated very quickly." 

Now, Dorn has nothing but praise for the 
whole cast. "They're the best bunch of ac- 
tors I've ever worked with," says Dorn, 
"and I know it sounds corny, but it's true. 
Truly professional. And everybody is 
hilarious off the set, too. I mean, they are 
really good people to know." 

Dorn is particularly pleased with "Heart 
of Glory," the episode that spotlighted 
Worf. "The three actors, the three Klingons 

who played opposite Worf, were probably 
some of the best actors we've had on the 
show. They were steady, they were strong, 
they were right there, and it really made it a 
joy to work with them. You had to rise to 
the occasion." 

"Heart of Glory," which Dorn feels was 
one of the strongest episodes in the series' 
first season, also let viewers see another side 
of the Klingon personality. "We saw that 
Klingons are very eloquent. It was nice to 
see that they weren't just savages. 

"In the future, I would like to see a half- 
human, half-Klingon. And I would like to 
see the Klingons interacting more with the 
Federation. I don't think Klingons should 
be that much integrated into the Federation. 
I love their unanimity, their separateness, 
because they are such a straight-laced peo- 
ple. Once you start integrating the Klingons 
too much, they lose their edge." 

"Heart of Glory" settled the matter once 
and for all as to the extent of Worf's loyalty 
to Starfleet. "They wanted the audience to 
not be sure what Worf was going to do. 'Is 
he going to go with the Klingons? Is he go- 
ing to take the ship?' But in terms of the 
way I played him, there was never a question 
in my mind. Even though he's a Klingon, 
there's no chance he's going to go joyriding, 
you know?" laughs Dorn. "He's a very 
responsible person." 

Responsible, yes, but still a Klingon, and 
Dorn feels there is more to explore in that 
area. If it were his decision to make, what 
would Dorn like to see happen with Worf? 

"There are actually two things," he 
reveals. "I would love to see Worf go into a 
battle situation, hand to hand, like a very in- 
tense rescue, and just dispatch a number of 
people. In fact, I had an idea for a story 
when Tasha Yar was on the show, that she 
and I went and rescued some person from 
the clutches of evil aliens." 

According to the actor, the Klingon is 
banned from the new bar set. "Could you 
imagine Worf drunk?" Dorn asks. 

"Blazing a trail across the U.S.— leaving 
dead bodies wherever Worf goes," Dom 
was not easily recognizable at conventions. 

The genesis of this idea might be found in 
Dorn's opinion during the first season that 
"the only one whom Worf really likes, if 
you can use that term, is Tasha. She's ready 
to fight — 'Let's go for it,' you know? The 
same as Worf. And he admires that." 

With Denise Crosby's departure from the 
show, Worf will have to look for a kindred 
spirit elsewhere, which brings him to the se- 
cond thing he wants to happen with Worf. 
"The other side is, I would love him either 
to fall for somebody, like 'fall in love'; or 
somebody from his past that nobody knows 
about arrives on the ship. And I would love 
her to be a total alien." 

Still, Dorn has a clear preference between 
these two possibilities. "The love interest is a 
bit pedestrian. Everybody does that. I would 
prefer the non-pedestrian part where Worf 

38 ST A.RLOG/ January 1989 


goes into battle and just thrashes a bunch of 
people, because I think the audience would 
like to see that. Up to this point, Worf has 
gotten beaten up a lot," he says, laughing. 
"He has been stabbed, tossed around by an 
old man, and in 'Datalore,' Lore beat him 
up in a turbolift. So, I would like one show 
where Worf comes out on top." 

Klingon commencement 

The second season (scheduled to consist 
of 21 episodes) offers only minor alterations 
to Worf, specifically a change in costume 
(and his ceremonial Klingon sash). "As the 
show has progressed, the Worf character 
started to become things that I wouid want 
him to become, and without me really hav- 
ing to go to the producers," Dorn says. 
"For example, Worf has stepparents and a 

foster brother. We will see them — I don't 
think this year — maybe the brother this 

As for the series itself, Dorn says, "Since 
'Heart of Glory,' the shows have gotten, 
progressively better. The [first season's] last 
few were just excellent, I thought. So, 
they're going to continue that. They have a 
handle on it now." 

The biggest change for the series in its se- 
cond season is, of course, the absence of 
two of its stars: Denise Crosby and Gates 
McFadden. Dorn is reluctant to discuss 
McFadden's sudden exit from the 
show — other than to note that Diana 
Muldaur, who plays the ship's new doctor is 
"doing a wonderful job. We really like 
her." However, Dorn does speak of 
Crosby's departure. 

Filming "Skin of Evil" in which Tasha 
Yar dies, explains Dorn, "wasn't very dif- 
ficult until the funeral scene. Up until that 
point, it was just another show. We knew 
what was happening, we knew that Denise 
really wanted to pursue other avenues, and 
we were happy for her. So, it wasn't very 
difficult — except that funeral scene. Many 
people got very misty about it. 

"My favorite Next Generation episodes 
are 'Heart of Glory' and 'Skin of 
Evil' — because in the very beginning of that 
show, Tasha and I had a scene that made up 
for everything we had missed in the first part 
of the year. In fact, Denise said if they had 
always written the role like this, she 
wouldn't have left." 

During the series' summer hiatus, Dorn 
attended conventions ("blazing a trail across 

ST ARLOG/ January 1989 39 

"Data [Brent Spiner] is just a machine," notes Dorn of Worf's attitude toward his 
android shipmate. "He's like a Tonka Toy. Every year, new batteries." 

the U.S. — leaving dead bodies wherever 
Worf goes"), giving fans the chance to meet 
the actor without his Klingon makeup. Born 
in Texas, but raised in Southern California, 
Dorn found his first creative outlet not in 
acting, but in rock music, both singing and 
playing bass guitar. His first-bands were 
formed in high school and then later in col- 
lege, and had names such as "Murder," 
"Cygnet" and "Torage." 

He continued playing after college, "and 
1 was making a living at it," says Dorn. But 
then, an old high school friend suggested he 
try extra work. For a year, he did just that, 
filling in the background in movies and TV 
shows. Eventually, Dorn decided to be an 
actor and began doing commercials. 

He landed a part with "no lines" as 
Apollo Creed's bodyguard in the first Rocky 
and another as a physicist in Demon Seed. 
Then, he got what was to be a very fortunate 

job on a short-lived TV series in 1978. 

"I knew the producer for W.E.B.," Dorn 
says, "and she said, 'Michael, there's a part 
that you can do.' " 

The role was a small, one-shot ap- 
pearance, (he played a furniture mover) but 
through that job, Dorn got his first agent. 
And eight months after signing with him, 
Dorn landed a regular role on the popular 
series CHiPs. From 1980 to 1982, he played 
a cop named Jed Turner. 

"It was basically directing a lot of traffic, 
arresting people, a great deal of fast driving, 
arresting, stunts and more arresting. That 
was basically it," he says. "It was a good 
learning experience because I got to see 
much more of the business than I had ever 
dreamed of before. A lot of the good, a lot 
of the bad. For a long time, it was a pretty 
difficult place to work, but it was also 
wonderful because it was a hit show." 

After leaving CHiPs, Dorn made another 
movie appearance, in Jagged Edge (as a 
polygraph expert), and appearances in a 
number of soap operas, both primetime (in 
Hotel, Falcon Crest, Knots Landing) and 
daytime (in Days of Our Lives as a "yuppie 
henchman" and in Capitol as Senator Ed 
Lawrence). However, it had already begun 
to bother him that even when he was playing 
bad guys, they were clean-cut, personable 
bad guys. So, he set out to work on his im- 
age a little, and learn more about his craft. 

"Two years after CHiPs," Dorn says, "I 
realized that I had gotten many jobs because 
you go in there and you charm people and 
my character just happened to fit what they 
were looking for. I realized that I was miss- 
ing out on many wonderful roles by not go- 
ing in and being another character, or get- 
ting rid of that 'nice guy' image. Because 
(continued on page 64) 

40 ST fiALOG/ January 1989 



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Charles Fleischer is serious. Really 
serious. Seriously serious. He's ex- 
plaining why he liked dressing up in a 
bunny suit. 

"It just didn't make sense to do Roger 
Rabbit's voice in my street clothes," he says. 
"Anytime you do a movie, you wear a 
costume. There's something about putting 
on a costume that helps in the transforma- 
tion process. It seemed like the right thing to 
do. So, I wore the costume every day." 

Fleischer, of course, voiced the Toon 
superstar in Who Framed Roger Rabbit, the 

After 15 years of 

Hollywood rejection, 

the scientific comedian 

discovers success as 

Toontown's own 

Roger Rabbit. 

Charles Fleischer suits 
up as Roger Rabbit. 

Photo: Bob Penn 

Veteran voiceover virtuosos like Mae 
Questel (Betty Boop), June Foray (Lena 
Hyena, Wheezy) and Mei Blanc (Bugs Bun- 
ny, Daffy Duck, Porky Pig) were on hand 
to provide various Toon voices. Fleischer 
also did multiple duty, voicing Roger's pal, 
Benny the Cab, and two of Judge Doom's 
nefarious weasels, Greasy and Psycho. 

"Benny was just a New York street cab," 
says Fleischer. "At one time, I was three 
weasels. We had seven— like the seven 
dwarfs— but we cut back. Since there were 
several weasels, I really had to get specific on 
how mine were going to sound. Seeing them 
also helped. That's the amazing collabora- 
tion. I would do a voice. Dick Williams 

groundbreaking combination of live action 
footage and animation artistry. Normally, 
in animation, the voices are recorded first so 
that the animators have something to draw 
to (and the voices are frequently re-recorded 
later to include animators' changes). This 
was also true of Roger Rabbit, but the film's 
extensive live-action sequences called for 
special measures. So, Fleischer, an ac- 
complished stand-up comic and actor, was 
on the film set daily during principal 
photography to interact with co-star Bob 
Hoskins, feeding him lines from off-camera 
while dressed in a bunny suit. 

"I had them make up the suit especially 
for me," Fleischer explains. "I said I'm 
playing the part of Roger Rabbit. I should 
look like Roger Rabbit. At first, Hoskins 
said [imitating Hoskins' voice], 'He's out of 
his mind. The bleedin' yank's totally out of 
his mind.' Then, a few weeks later, Bob 
thanked me because it really helped him. 

"As an acting assignment, it was a very 
difficult job for both of us. Bob had to act 
with something that wasn't there and I had 
to stand off-camera and project myself into 
the space he was acting with so that if he 
grabbed my ears, I could react to that. My 
whole approach to this role was as an actor. 
That's my training. I didn't think of it as a 
voice, it was just off-camera acting. And I 
did everything as though I was on camera. If 
Roger had a gun in his hand, I had a gun in 
my hand. If it was the scene where Roger 
was pushing out the door, I was pushing out 
the door." 

Rabbit Tests 

Fleischer got the suit— not to mention the 
part— because director Bob Zemeckis 
remembered him. Zemeckis (STARLOG 
#134) had seen Fleischer perform at the 
Comedy Store circa 1980 and brought him 
in to audition for a role in Romancing the 
Stone. The part of Joan Wilder's South 
American fan, however, went to Alfonso 
Arau. "I wouldn't have been the right 
choice," Fleischer confesses. "And I think 
that in today's sensitive world, if you cast a 
Caucasian as a Hispanic, you're going to 
have a little bit of trouble." 

But Zemeckis still remembered. And in 
1986, Fleischer got the call. He was asked to 

46 SI KRLOG/ January 1989 

voice Roger for screen tests of actors audi- 
tioning to play the well-worn gumshoe, Ed- 
die Valiant. Important stars like Paul 
Newman and Harrison Ford were under 

And who did Fleischer audition with? 
"Oh, I don't think I should say," he 
remarks coyly. "I'll make up names. It was 
Monty Hall, Pat Sajak and Lance 

On the strength of his screen test work, 
Fleischer was awarded the Rabbit role while 
Bob Hoskins (STARLOG #133), who had 
auditioned without Fleischer in England, 
won the part of Eddie Valiant. Together, in 
the film, the two make a memorable pair. 
"We're certainly from two different 
worlds— Bob being a Cockney, me being an 
American— but we were united by the art 
that we love: acting, theater and movies. 
He's unbelievably great, a consummate ac- 
tor. One reason the movie works is that the 
relationship between Roger and Eddie is an 
extension of that between Bob and trie. Ac- 
ting with him was like playing tennis with a 
better partner. It brings your game up." 

Once cast, Fleischer had to get to know 
his rabbit. He dismisses as total fabrication 
reports that he studied acting with Bugs 
Bunny. "What, are you kidding?!" he ex- 
claims. "Bugs? Bugs doesn't even wear 
pants! Does that tell you anything? I 
remember when John Lennon said [as Len- 
non], 'AH I said was that Rog was going to 
be bigger than Bugs. I never meant to cause 
all this fuss. I never said that Rog was better. 
I just said he would be more popular. It's 
the truth. If it's a mistake, I'm sorry about 
that, but I was telling it the way I feel.' ' 

Resuming a Fleischer-like voice, he con- 
tinues. "After I got the job, they told me we 
need a speech impediment. Dick Williams 
[director of animation] says all Toons have 
speech impediments. ILM had tried putting 
in a little whistle. 1 walked around one day 
with a whistle in my mouth trying to do [as 
Roger], 'Rog with a whistle.' It just didn't 
work because of the structure of Rog's face. 
So, then, I don't know how it came about 
but I came up with him going p-p-puhleeze. 
And that worked. Dick Williams actually 
filmed me doing that to figure out how it 
should be animated." 

would listen to it and draw it. Then, [as 
Greasy], 'nee drew Greasy and hee had a 
stiletto in hees hand,' so I started like [spit- 
ting] the way he speaks when he picks his 
teeth with the stiletto. He spits a lot. [As 
Greasy], 'That's one dead shoe, boss.' 

"With Greasy or any character that you 
develop, you get an idea of who he is and 
what his characteristics are. Many times, I 
create characters by combining different 
people. Psycho, for example, was a com- 
bination of Mickey Mouse and Jack 
Nicholson. Greasy combined Al Pacino's 
Scarface and Peter Lorre. I do composites 
from all the disks filed in my mind." 

The actor isn't shy about one thing. He 
loves Who Framed Roger Rabbit, describing 
it as one of "the greatest films ever made." 

"It has RVEAAU— Repeated Viewing 
Enhances Amazement, Appreciation and 
Understanding," Fleischer comments. 
"With any great art, you can't possibly get 
all there is on the first experience. It's true of 
great literature, great paintings, the Beatles 
and Roger Rabbit. 

"No director except Bob Zemeckis could 
have pulled this off. He has '40s sensitivity 
and '80s sensibility. He's aware of the kind 

of '40s Capraesque quality of movies, of 
human dignity and overcoming hardships 
and the triumph of the human spirit and 
he's also aware of the '80s technology that 
went into this film. With this movie, there 
wasn't one person who wasn't the best per- 
son on the planet for the job. Robert Watts, 
Frank Marshall, Bob Hoskins, Christopher 
Lloyd, Ken Ralston at ILM. Roger Rabbit is 
an amazing house of cards. If any one factor 
had been out of place, the whole movie 
would have crumbled. If I had messed up 
the voice, if it had been a really irritating 
voice [as Amos of Amos 'n' Andy], 
'C'mon, Eddie, let's get out of here.' Or [as 
a little Hanna-Barbera duck], 'C'mon, Ed- 
die, we want to get out of here.' Or [really 
falsetto], 'C'mon, Eddie, let's go.' Any of 
those wouldn't have worked. It had to be 
Toony. That was the hardest part, that and 
keeping the Toon quality to Rog, but also 
having that emotional center that makes you 
feel for him. [As Roger], 'All the times you 
pulled my ears?' " 

Rabbit Runs 

Fleischer got funny early. "I was nine years 
old," he says, "when I started doing stand-up 

at Camp Kewanee in La Plume, Pennsylva- 
nia. My routines were loosely based on things 
I had seen Jonathan Winters do." 

He attended college on Long 
Island — "until I realized I didn't want to be 
a doctor anymore" — and then transferred 
to Chicago's Goodman Theatre to study 
acting. "That was the smartest thing I've 
ever done," Fleischer claims, "because they 
stripped me of my schtick. I would do funny 
voices and funny characters. They would 
say, 'No, the voice is the last thing you do. 
The character comes from the inside.' " 

While at Goodman, Fleischer began do- 
ing stand-up comedy professionally, playing 
harmonica in a local club. He also played 
buildings. Really. 

"See, I used to play the trumpet," 
Fleischer says. "A bugle is a trumpet 
without valves. I saw a building under con- 
struction — all those pipes and conduits run- 
ning throughout it. Wow! A giant, abstract 
bugle! So, one day, I took my trumpet 
mouthpiece, went across the street to this 
building under construction, plugged my 
mouthpiece to a tube and went 'Grrrrrr' and 
played the building. 

(continued on page 64) 



Just in time for use as a last-minute special 
present, RCA/Columbia Pictures gives us 
Lucasfilm's Willow. While the $89.95 price is 
no stocking stuffer bargain, it's still worth an 
evening's entertainment (especially with very 
young children) and you'll probably be able 
to view Lucasfilm's gentle fantasy at home 
after the rental stores lay out the big bucks to 
stock enough copies for their customers. 
Unlike the Star Wars saga, which loses a 
great deal of impact when shoehorned into 
the small video square, Willow, a much more 
intimate tale, is expected to lose less in the 
transition to video. Speaking of Star Wars, 
CBS/Fox is still selling the complete trilogy as 
a single package— a rather nifty gift. 

With Who Framed Roger Rabbit grossing 
more than $135 million in domestic box 
office this past summer, it comes as no 
surprise that sales of Warners Bros, cartoon 
collections have dramatically increased. 
Warners studio execs have reached a little 
deeper into their vaults and assembled three 
new videocassette programs, each containing 
six complete, unedited, full-color Warners 
cartoons from the years 1948 through 1959. 
Entitled Bugs Bunny's Hair Raising Tales, 
Daffy Duck's Madcap Mania and Porky Pig 
Tales, these three new collections kick off a 
new product line, Warner Bros. Cartoon 
Cavalcade; each videocassette contains six 
cartoons with a 45-minute running time and 
$14.95 price tag in VHS and Beta. 

Included in the Bugs Bunny collection are: 
Robert McKimson's "A Lad in His Lamp" 
(1948) with Jim Backus in his pre-Magoo 
days voicing the genial genie animated by 
Rod Scribner; Chuck Jones' "Knight-mare 
Hare" (1955); McKimson's "The 


Windblown Hare" (1949) in which Bugs 
helps a weak-winded wolf dispose of some 
obnoxious pigs; Friz Freleng's "Rabbitson 
Crusoe" (1956) with Yosemite Sam as the 
stranded Crusoe living on coconuts for 20 
years, and Bugs as a fricasee-special-to-be for 
poor Sam (Bugs sings "Trade Winds" and 
"My Secret Love"); Jones' "Rabbit Hood" 
(1949) in which Bugs is chased by the Sheriff 
of Nottingham for poaching the royal 
carrots. Errol Flynn swings by via live-action 
as Robin Hood; Abe Levitow's "A Witch's 
Tangled Hair" (1959), a wacky 
Shakespearean punfest in which Bugs and 
Witch Hazel (voiced by June Foray) are 
joined by the bard. 

The Daffy Duck videocassette features: 
Robert McKimson's "The Secret Snooper" 
(1952), one of writer Tedd Pierce's funniest 
parodies with Daffy as the murder mystery- 
solving Drake Duck; McKimson's "Daffy 
Duck Hunt" (1949), famous for Daffy's 
spectacularly surreal entrance, which must be 
seen to be believed; Jones' "You Were Never 
Duckier" (1948) in which money-hungry 
Daffy impersonates a chicken to win a 

The scene was dropped from Willow (now on video), but this is ^J™™*^^ 
Jean "Moebius" Giraud visualized a sea monster's attack. (See COMICS SCENE u tor 
Giraud's comments on his Willow work). 

contest only to become a dinner target for 
veteran chickenhawk Henery and dad, 
George K. Hawk; Freleng's "Golden Yeggs" 
(1950), Daffy's claim to be a golden egg-layer 
puts him in the hands of Rocky and Muggsy, 
who want the duck to lay... or else; 
McKimson's "Dime to Retire" (1955) in 
which Porky registers for the night at a 
money-chiseling hotel managed by Daffy; 
Freleng's "A Star is Bored" (1956), with 
Daffy trying to break into the movies as 
Bugs' stunt double. 

Porky's collection includes: Jones' "The 
Awful Orphan" (1949), in which Charlie Dog 
tries yet again to get Porky to adopt him, 
much to the annoyance of Porky's upstairs 
neighbor; Arthur Davis' "The Pest That 
Came to Dinner" (1948), in which Pierre the 
Termite invites himself for three meals a day 
at Porky's house; Jones' "Jumpin' Jupiter" 
(1955), the climax to Jones' cycle of 
Porky/Sylvester thrillers as the duo is 
kidnapped by an ugly alien with a very large 
flying saucer; Jones' "My Little Duckaroo" 
(1954), despicable desperadoes beware when 
Daffy, the Masked Avenger, and his 
sidekick, Porky, prowl the Old West; 
McKimson's "Dog Collared" (1951) in which 
Porky tries to avoid the slobbering affections 
of a big, clumsy dog until he discovers the 
dog can talk (well, so does the pig) and a 
reward is offered; McKimson's "China 
Jones" (1959), another Tedd Pierce satire 
with Daffy Duck as detective China Jones, 
who encounters the surprising Dragon Lady 
and an inscrutable Porky. 

This new cartoon series has been joined on 
store shelves by a reissue of 12 Warner Bros. 
Golden Jubilee 24 Karat Collections of hour- 
long programs each containing eight 
cartoons, also priced at $14.95. 

MCA Home Video has unveiled the 
technical details for its release of E.T. on 
laserdisc. The image will be letterboxed as 
previously announced and complete on two 
CLV sides. Sound is CX-encoded digital 
stereo surround with closed-captions. 
Running time is 115 minutes; $39.98 

suggested retail. 

—David Hutchison 

Phyllis Coates, 
Girl Friend 

Phota Courtesy Phyllis Coates 

"I thought George Reeves was 
a great guy," admits Phyllis 
Coates, "and I never did 
*"~rtge my feelings about him." 


She could win Pulitzers, she could fight crime, but after only a 
year, this Lois Lane left her Man of Steel. 


he's known to her friends by her real 
I name (Gypsie Ann Evarts Stell) and 
' to countless thousands of fans by her 
professional name (Phyllis Coates), but for 
untold millions of television viewers, she'll 
always be Lois Lane, ace reporter for the 
Metropolis Daily Planet. "That's only one 
facet of me, " Phyllis Coates stresses, but 
whatever other acting challenges this veteran 
performer has met (either in her formidable 
'50s career or in her current comeback) can 
only be icing on the cake; her niche in enter- 
tainment history is already assured. The 
popularity and permanence of TV's Adven- 
tures of Superman seem in no danger of 
fading, and the series' first and feistiest Lois 
still remains a fan favorite . 

Part One 


Born in Wichita Falls, Texas, the future 
movie/television actress moved to 
Hollywood as a teenager with intentions of 
enrolling at U.C.L.A. A chance encounter 
with Ken Murray in a Hollywood and Vine 
restaurant landed her in the comedian's 
vaudeville show for over a year. She started 
out as a chorus girl and graduated to skits 
before moving on to work for veteran 
showman Earl Carroll and later touring with 
the U.S.O. Coates played some of her 
earliest motion picture roles in comedy short 

subjects at Warner Bros, and then earned 
parts in early '50s features like the Bowery 
Boys' Blues Busters and the Whip Wilson 
Western Outlaws of Texas. In 1951, she 
played Lois Lane for the first time in Super- 
man and the Mole-Men, the feature film 
that led to the long-running Superman TV 
series. After a one-season stint with the Man 
of Steel, Coates divided her time between 
TV, B-movie assignments and serials at 
Republic. Too long missing from the acting 
scene, Phyllis Coates is now embarking on 
the comeback trail. 

TOM WEA VER, veteran STAR LOG cor- 
respondent and frequent FANGOR1A con- 
tributor, profiled Janet Leigh in issue It 132. 

ST ARLOG/ 'January 1989 49 

recently sent me a still of George and the 
Mole-Men, and one of the midgets is 
holding an Electrolux vacuum cleaner, 
which was their weapon [laughs]. 
STARLOG: Were you pleased with the final 
results of Mole-Menl 

COATES: Well, how could you be? You 
know [laughs], I took my money and went 
home! It was nice working together and 
everybody liked everybody, but in the final 
analysis, it was a crock of crap! But I guess 
when you're involved in something like that, 
you take yourself a little more seriously. 
Probably if I saw it now, I would enjoy it, 
and maybe laugh my head off. One thing I 
do remember especially was that Jeff Corey, 
who played the leader of the mob that 
chases the Mole-Men, was very good in it. 
He got caught up in that damn McCarthy 
thing, but Jeff has always been a good ac- 
tor, and the proof of the pudding is that he 
went on to become one of the best acting 
coaches in Hollywood. Another thing I 
remember is that, not long after we finished 
it up, I was over in Scotland, visiting Edin- 
burgh, and it was playing over there. There 
was this big billboard advertising the pic- 

STARLOG: Were you aware of the Super- 
man comics as a kid growing up? 
PHYLLIS COATES: Yes, but strangely 
enough, I was never a comic-book reader 
when I was a kid. I got sort of soured by Lit- 
tle Orphan Annie, who never did change, 
and [laughs] I put 'em all down! 
STARLOG: How did you become involved 
in Superman and the Mole-Menl 
COATES: I had an agent at that time who 
sent me out to the old Selznick Studios. 
They were interviewing gals for the part of 
Lois Lane. I met Bob Maxwell, who was 
then one of the producers. I read for him 
and he said, "I think you're perfect for the 
part." It was that simple: I didn't even get a 
callback on it, they just decided that I was it. 
And there were many good gals up for it. 
STARLOG: So, working on Mole-Men was 
when you met George Reeves for the first 

COATES: I met George in pre-production, 
and, yes, that was the first time we ever 
worked together. I thought George was a 
great guy, and I never did change my feel- 
ings about him. We were very good friends, 
and we socialized off the set. I also knew the 
lady he was involved with, Toni Mannix. 
Toni was the wife of Eddie Mannix, who us- 
ed to be MGM's production manager when 
the studio was in full swing. He was Toni's 
husband. Toni was George's girl friend. 
STARLOG: And Eddie Mannix didn't 
mind this? 

COATES: Apparently not— Eddie was very 
sick at that time. At their house in Bel-Air, 
there was an elevator for him, in the 

50 STARLOG/ January 1989 

home— I mean, he was really, really ill. But 
Eddie was the one who was later responsible 
for getting George into the Directors Guild. 
Both George and Toni were very good to 
my oldest daughter. At that time, she was in 
a cast because she had a hip problem, and 
Toni used to pick her up and we would all 
get together for dinner after work. We also 
saw each other sometimes on the weekends. 
We were all very good friends, and I had a 
marvelous working relationship with him. 
STARLOG: How quickly did you make 
Superman and the Mole-Menl 
COATES: Very fast. Oh, man, we went 
skatey-eighty on that movie, and that whole 
series. You never knew which episode you 
were shooting! Sometimes, we would be 
shooting four or five episodes at one 
time— that's why I had one hat and one suit, 
and that was it! I didn't even dare change 

#124], who directed Mole-Men, told us the 
picture took four weeks. 
COATES: I don't think we shot four 
weeks— my God, that would have been ex- 
travagant*. Lee might've liked it to go four 
weeks, but I think we wrapped it up more 
quickly than that. We shot in Culver City, 
around in that area. The studio was out 
there, and we couldn't venture too far away 
from it because of time. 
STARLOG: Did you think that the midget 
actors playing the Mole-Men were effective? 
COATES: I guess at the time they were. It 
was all hysterical to me— George and I 
laughed through the whole thing. Somebody 

ture, and I just roared with laughter. We 
went directly from that Mole-Men feature 
right into the Superman series. 
STARLOG: Do you remember what 
Reeves' initial feelings were about the role? 
COATES: He wasn't happy about it. The 
first time we ever got together, we toasted 
each other and he said, "Well, babe, this is 
it: the bottom of the barrel," and I felt the 
same way myself! George had had quite a 
good career going at one point, then he went 
into the service and it was a whole different 
ball game when he came back. And he 
never, ever was happy. For one thing, in the 
beginning, both of us were getting low 
dough. I mean, we were working for very 
little money, and George was really teed off 
about that. Later on, though, he really was 
able to get it up. 

STARLOG: Jack Larson [Jimmy Olsen] 
made $350 an episode and Noel Neill [the 
later Lois Lane], $225. 
COATES: Did they really say they worked 
for that! Jeez, then I got more than they 
did! I got $350, $375 an episode. And when 
I was preparing to leave the show, Whit 

Ellsworth [producer of Superman after the 
first season], who was trying to get me to 
stay, made me all kinds of offers! 
STARLOG: What kind of money was 
George Reeves making? 
COATES: As best as I can remember, 
George may have been getting around 
$1,000, maybe a little less. But we complain- 
ed about it all the time. 
STARLOG: Rumor has it that Reeves own- 
ed a piece of the show. 
COATES: No, George did not. National 
Periodical Publications [now DC Comics] 
was very tight. 

STARLOG: In working on the series, did 
you feel that your only audience would be 

COATES: Yes, definitely. And that was 
discouraging, particularly for George. 
STARLOG: For an early TV show, Super- 
man had very good special FX. 
COATES: The FX were some of the best 
things in the old series — in fact, I don't 
know why Jack Larson and I put up with as 
much as we did. We were nearly blown up, 
beaten up, exploded, exploited — I guess it 
was because we were young and dumb, but 

we put up with a lot of stuff. Not too long 
ago, I saw an episode ["Night of Terror"] 
where I got knocked out! The heavies on 
that show were so mean and so tough, but in 
real life, they were the sweetest guys in the 
world — I worked with 'em on Superman, on 
Westerns, in gangster stuff, just all the time. 
The one who knocked me out, an actor 
named Frank Richards, certainly wasn't 
responsible; / was. In an action show like 
Superman, you had to hit your marks exact- 
ly. I missed my mark by about three or four 
inches, I moved too close to him, and he 
decked me! I was knocked out cold, and 
they sent .me home — that left me a little 
black-and-blue, but I was back at work the 
next day. The funny thing is that Lee 
Sholem, who was directing, left that shot in! 
So, if you watch that episode, you can see 
that I really took a punch. 

People have said that when Bob Maxwell 
produced Superman, it was a more violent 
series, but I think it was just more action. 
Maxwell was, for my money, more im- 
aginative than Whitney Ellsworth — 
Ellsworth might have been a very sweet 
man, but Maxwell was a little more im- 

Just as she did in 1948, Phyllis Coates wishes everyone a merry Christmas 

Superman (Reeves), Lois Lane and the 
residents of Selby (Ray Walker and Walter 
Reed) may have taken the Mole-Men's 
attack seriously, but Phyllis Coates 
"laughed through the whole thing." 

aginative, and I thought it reflected Bob's 
tastes more than Whit's. As the series went 
on, after Bob was gone and Whit had taken 
over, it got a little sugary and sweet. It got 
cutesy-cutesy, whereas earlier the episodes 
had a little bit of bite. 
STARLOG: Do you remember anybody 
else getting hurt on the show? 
COATES: The wires broke on George once. 
He was about to do one of his famous take- 
offs when the wires broke. And I thought he 
was going to kill me, because when they 
broke, I couldn't help but laugh— it was just 
too funny [laughs]\ He could 've been hurt 
and he knew it, and he grabbed me by the 
throat— kiddingly— and said, "Goddamn it, 
don't you laugh, I could have been killed!" 
But it was just too funny. 
STARLOG: Did you have any inkling, early 
on, that Superman was going to be a hit? 
COATES: George and I had no idea, none 
whatsoever, that this kind of thing would 
develop. In fact, I wonder what it is— what 
is the magic about Superman! Is it that the 
good guys and the bad guys are so clearly 

STARLOG: For fans of that first season, 
it's the show's dark, violent tone, plus the 
excitement and suspense. 
COATES: Well, that was Bob Max- 
well—that reflects his taste. I can't tell you 
how many people have written me and said 

exactly the same thing. Maxwell was a more 
daring and more interesting guy than Whit 
Ellsworth— Maxwell just had that zip. He 
left Superman about the time that I did, and 
he died, I think, while he was working on 
Lassie. Bob had some fire and imagina- 
tion—maybe that's the conflict he had with 

I guess I can see why the first season ap- 
pealed to a more adult audience: I've had 
people write me to say that as kids they 
watched those early shows where the heroes 
were clear, the bad guys got it, Superman 
was really Superman and so on. I've had 
doctors and lawyers writing to me— really, 
it's amazing, the people who grew up on the 
series. And they all say the same thing, that 
the first season was the best one for them, 
the most meaningful in their lives. 
STARLOG: National apparently got fed up 
with the show's violence, and wanted 
something entirely different from what 
Maxwell was delivering. 
COATES: Well, they got it, didn't they? 
The new gang came in and turned it all to 

STARLOG: Didn't Maxwell's wife also 
work on the show? 

COATES: Oh, God, did she! Jessica didn't 
really work the show but she was always 
there, hanging around on the set all the 
time. I can play comedy, and I was always 
trying to slip some extra little touches in here 
and there, but she would report me [laughs]] 
The directors, Lee Sholem, Tommy C'arr 
and George Blair, were shooting and work- 
ing so fast that I could have gotten away 
with a little— a look there, a look here— but 
Jessica always had her eagle eye out. I 
always got the feeling she was the spy! She's 
the one who picked out that bloody suit and 
hat that I wore. 

STARLOG: We've heard people tell anec- 
dotes that don't speak too well for Maxwell; 
in fact, one of the Superman directors calls 
him a "shit." 

COATES: Bob could be a shit, but I think 
anybody who has definite likes and dislikes, 
who isn't afraid to let you know what he 
thinks and who shoots from the hip, is going 
to be a shit in somebody's eyes. I've been 
called that myself! Maxwell was tough, but I 
liked him. George and I socialized with 
Maxwell, and we both liked him. 
STARLOG: Did you ever tag along with 
Reeves on any of his promotional tours? 
COATES: No. He had asked me to do 
some, even when everybody was trying to 
get me to come back on the series. George 
wanted me back on Superman, and he spent 
some time talking to me about doing some 
of these personal appearances. Let me tell 
you [laughs], he hated 'em! It always ap- 
peared that George liked kids, but he told 
me some of the worst stories. Kids were 
always poking him, jabbing his rubber 
muscles— oh, God! But he did what was ex- 
pected of him. George was one of those 
dear, sweet guys, and first and foremost, he 
was an actor. He would always rise to the 
occasion, but he said some terrible things 
happened on his personal appearances. 

(continued on page 70) 

52 STARLOGAtowa/r 1989 


Jean-Claude van 
Damme is the guitar- 
slinging gladiator of 
the future. Really. . . 


Following in the flying footsteps of 
Chuck Norris and Steven Segal 
comes a young Belgian by the name 
of Jean-Claude Van Damme. The karate 
champ-turned-actor has appeared in 
Bloodsport and No Retreat, No Surrender 
and, after an aborted stint as Arnold 
Schwarzenegger's alien opponent in 
Predator, is battling baddies in Cannon 
Films' Cyborg. Directed by the prolific 
Albert (The Sword and the Sorcerer) Pyun, 
it is a tale of unlikely heroes and savage 
villains on a post-apocalyptic planet Earth. 
After the success of Cannon's 
Bloodsport, the production company sent 
their rising star a batch of new scripts, and 
Cyborg (by Steven Nick Rostov, based on 
Pyun's story) was the one which impressed 
him the most. "I just felt good about the 
story," Van Damme explains. "It's very 

KRIS GILPIN is an LA-based writer. He 
profiled Jane Badler in STARLOG #133. 

STARLOG/ 'January 1989 53 

Believing cinematic hi-tech battle scenes 
are now outdated, Van Damme thinks 
movie audiences would rather see a "man 
vs. man" confrontation. 

strong with lots of passion. My character is a 
loser with everything against him, but in the 
end, he wins out; it's like a Rocky in the 
future, with a lot of heart. It's a strange 
script. In my position, I should make a 
Bloodsport 2 to ensure a success, but 
sometimes, you have to take a chance." 

Van Damme plays Gibson Rickenbacker, 
a master of sword, crossbow and hand-to- 
hand combat, who wanders the wasteland in 
search of others worth saving. "I play the 
messenger of the future, almost God-like, 
and I'm there to help cure a plague on 
Earth. It's a very visual story." He is, in 
fact, nearly crucified in the film by the evil, 
marauding Flesh Pirates. "Rickenbacker's 
not really a superhero, he's just a person like 
you or I. But halfway through the story, the 
guy's almost physically dead, and when he 
comes back to save the world, he realizes 
he's the 'chosen one.' " 

Pyun, a guitar buff, has christened the 
characters with instrumental brand names: 
the head of the Flesh Pirates is named 
Fender Tremolo, one man is called Roland 
Pick, etc. Van Damme even carries an an- 
cient electric guitar on his back throughout 
the film, as a symbol of hope for the future. 
Although Van Damme is a fan of the 
genre, he isn't limiting himself in terms of 
acting projects. "I like good scripts, whether 
they take place in the past, present or 
future," he says. "I just go for a good story. 
What I like about science-fiction movies is 
their [verisimilitude]; you really get to dream 
If the sets or wardrobe are plastic in a film, I 
don't buy it. Cyborg looks real. The war- 
drobe is fantastic and everything, including 
the weapons, looks dirty, used and real. 
That's the way I can believe in a movie." 

Just being in his first science-fiction film 
added to this illusion of reality. "I really felt 
I was in the future, especially where we were 
shooting in these [barren] lands of Wilming- 

54 ST f^KLOG/ January 1989 

In comparison with other action actors, Van Damme says, 
myself, not Stallone or Norris; we're all different." 

"I only compete against 

ton, North Carolina. There was no trace 
of civilization, so I didn't know if I was in 
the past or future," he explains. "I just saw 
the Flesh Pirates at my back, with the plague 
and the makeup and the scars [by Greg Can- 
nom], I really felt strange, especially when I 
was crucified at sunset. The camera was 
behind me and I could see nothing in front 

of me; I was suffering so much with the 
wind blowing in my face. But the film was 
also fun to make because anything is possi- 
ble in science fiction." 

Van Damme speaks quickly, his voice full 
of energy and enthusiasm. "I remember be- 
ing crazy over Star Wars when I first saw it. 
It was that dream for me again: the guy in 

the small village working in mechanics, and 
then they give him the power to be a ninja of 
the future. I was in Belgium in a small gym 
and then I came to America, the land of 
promise, to be an actor," he relates. "Star 
Wars and ALIENS really made me a big 
science-fiction fan." 

Bloody Battler 

The actor sees his new film as being a bit 
of a departure from other recent post- 
apocalyptic pictures. "First of all, Cyborg's 
not a big-budget movie, so Albert was 
smart; he wrote a simple story with a dif- 
ferent conception of the future. There are 
no factories or resources anymore, no 
technology at all or even any firepower left 
on the planet. So, he put all the quality in 
the photography, the action and the 
storyline. Also, I think people have had 
enough of [makes laser gun noises]; they 
would rather see man vs. man. By the 
movie's end, Albert builds the tension in the 
big fight scene so that the audience will real- 
ly hate Fender Tremolo [portrayed by Vin- 
cent Klyn]." 

Van Damme plays Rickenbacker as an 
all-too-human hero, noting, "Gibson is very 
vulnerable; he starts out as a savage, long- 
haired 16-year-old kid, and then he changes. 
I wouldn't want to play the [staunch] hero 
type. I like being the guy who loses 
everything." During the course of his 
travels, he comes to the aid of Pearl Prophet 
[Dayle Haddon], the kidnapped female 
cyborg who has information vital to stop- 
ping the life-threatening plague. 
• However, the actor's relationship with his 
Cyborg director wasn't nearly so hazardous. 
"I would look at him and suggest, 'What if 
we do this?' And he would say, 'Jean- 
Claude, I had that lined up for the next 
shot.' We were on the same wavelength 
together, and he knew that I knew the posi- 
tion of my body and face in the camera 
quite well. I think I might make a good 
director one day because of that. When you 
know the camera, you can make love to the 
camera, and so make love to the audience. 
This business was made for me. " 

The physical nature of the shoot was very 
exhausting for cast and crew, and some days 
required four hours of makeup for Van 
Damme, in which he was given a total of 23 
scars all over his battle-weary body. The 
movie also includes chase scenes, with Van 
Damme trudging through swamps and fall- 
ing down wells. One touch Pyun added to 
the crucifixion scene was to have the shadow 
of a cross fall on the actor's face as the Flesh 
Pirates nail him to a ship's mast. The scene 
took seven-and-a-half hours to film, from 
which Van Damme took home "lots of 
[real] scars, lots of souvenirs," he says. 

Van Damme performed most of his own 
stunts in the movie (except for fire 
gags) — among them high jumps and nearly 
40 fight scenes. "I know stuntmen have to 
make a living, but I hate to fool the au- 
dience. I'm young, I have a strong body and 
if I can do it, I'll do it." 

One of the more painful moments came 

Cyborg's Gibson Rickenbacker is "the messenger of the future," says Jean-Claude 
Van Damme, "and I'm here to help cure a plague on Earth." 

when he was crouching down in the 
sewers — perilously keeping his balance on 
two stone columns several feet above the 
cold, hard floor — before plunging a knife 
into the head of a 6'7" bad guy. "The posi- 
tion was very dangerous, and afterwards, 
my joints ached like crazy because my butt 
was lower than my heels in the scene." 

Ultimately, the actor is happy to be in a 
film which sports the message, "Let's try to 

change the world because everything's going 
crazy right now, thanks to disease, drugs 
and corruption. We're killing animals like 
crazy and, in this movie, there are no more 
animals. People all over the world don't give 
a shit about anyone else anymore. We have 
to change the world, although, personally, I 
think that's impossible; we are all too deep 
inside the muck." 

(continued on page 57) 

Having studied karate, shotokan, kung fu, tae kwon do and kickboxing, Van Damme 
makes good use of his martial arts prowess. 

STARLOGA/a/JWfir/r 1989 55 


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56 STARLOG/ January 1989 

van Damme 

(continued from page 55) 

Fearless Fighter 

Jean-Claude Van Damme was born and 
raised in Brussels, Belgium. A small and 
skinny child, his father encouraged him to 
take up karate. He immediately found it to 
his liking, and, wanting to become bigger 
and stronger, started lifting weights as well. 

Even then, the art of self-defense held a 
message of its own. "I liked the movement, 
technique and philosophy," explains Van 
Damme, "and I was training to be the best. 
Karate's a very boring sport, but when you 
know the technique, you can go further and 
further. You need at least six or seven years 
to understand the philosophy and concen- 
tration of karate, to know how to clean your 
spirit of everything and dedicate your mind 
and body to the sport. I also use it for con- 
centration before acting scenes." 

After starting with the basics of shotokan 
(in which he earned his black belt), Van 
Damme trained in kung fu, tae kwon do and 
kickboxing and, after studying with the 
world champion karate expert Dominique 
Valera for a year, he won the European 
Professional Karate Association's mid- 
dleweight championship. "There's a great 
deal of respect for kickboxing," he 
elaborates. "It's like a religion. If they die in 
the ring, they don't care, because they 

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believe in a second life, that the kickboxer is 
someone special on the side of God." 

By his late teens, Van Damme had turned 
his skills into a successful gymnasium 
business while also working as a model. 
Having loved the movies since he was a boy, 
he got his first chance to act in one, briefly 
playing a "bad guy with all the knives" in 
the French film Rue Barbar. Then, believing 
the best action films came out of the U.S., 
he boarded a plane for Los Angeles just 
three years ago. 

After spending two weeks sleeping in his 
rental car, Van Damme worked as a martial 
arts instructor and a bouncer while studying 
English and trying out for every role he 
could. He finally landed a bit part as 
another bad guy in No Retreat, No Sur- 
render. "I love playing the villain," he says, 
"but a villain with class." 

His show of strength and body flexibility 
in that film led to his being cast as the 
original Predator, although this assignment 
wasn't to last very long. "They said I would 
be in a tight leotard with half-[human], half- 
animal makeup on my face. Then, I got a 
full-body cast and, in the creature outfit, my 
arms and legs were on metal stilts; if I had 
fallen and held my arms out, I would have 
broken them. The costume took about 20 
minutes to put on; it was thick rubber and I 
couldn't see anything, there was just a small 
piece to breathe through. I needed cables to 
move my jaw and head, and it was hard to 
keep my balance. They wanted me to make 
a big jump, and I told them, 'It's impossible 
[from that height]. I know my limitations 
and I'll break my legs.' " So, they got a 
stuntman on the set to make the leap, and 
he promptly broke his leg and stopped the 
shoot. They later built a new outfit for the 
7-foot-plus Kevin Peter Hall (STARLOG 
#101) in which no stilts were necessary. Van 
Damme was never asked back. 

Although some footage of Jiis monster 
work remains in the film's first half, he 
never received screen credit for his contribu- 
tion to Predator. Still, he harbors no regrets. 
"What's an alien?" he asks with a shrug. 
"It's a guy inside a plastic suit. That's not 
my goal in life, which is to be a good actor. 
Even if I didn't get credit for Cyborg, as 
long as my face is up there on the screen, 
who cares about the credit?" 

Not wanting to be the villain forever, he 
contacted Cannon Films' Menahem Golan, 
who cast him in Bloodsport and Cyborg 
(whose possible success could breed a se- 
quel of its own in the future). 

Comparing himself with today's other ac- 
tion actors, Jean-Claude Van Damme notes 
assuredly, "I only compete against myself, 
not Stallone or Norris or any of the others; 
we're all different. If the press doesn't know 
that, I know and the audience will know. I 
try to be better in each movie I make. I want 
to take the best out of myself and put that 
on the screen forever. I would like to be 
remembered more as an actor than a fighter; 
people forget the fight but they never forget 
the conflict. Life is too short and you have 
to achieve your dream, and I'm trying to. I 
hope I'll be there." 3*s* 


(continued from page 13) 

that attitude, something had to go. It turned 
out to be the interactivity. 

Interactivity proves a touchy subject with 
DiTillio, who denies that Mattel forced a 
certain number of interactive scenes on Cap- 
tain Power's writers. 

" 'Forced' is not a good word," he 
declares. "We were given the parameters of 
having to have a minimum of one minute 
and a maximum of three minutes of interac- 
tivity per ejaisode. Because of the technology 
involved, it proved easier to incorporate the 
interactivity over battle sequences. In some 
episodes, we were told that some battle 
scenes would be necessary and that meant, 
in some cases, story elements had to go. 
Most of those involved with the show 
weren't happy with the interactivity at all. 
We would all be thrilled to do this show 
without the interactivity now that we're 
away from Mattel." 

DiTillio concedes that, despite 
everybody's best efforts, Captain Power 
and the Soldiers of the Future never quite 
got away from its "kid's show" label. 

"But I think we got the adult side of this 
show across more often than people might 
think," offers DiTillio. "You've got to 
remember that we were saddled with the 
worst title for a TV show ever created. 
However, we were also dedicated to doing a 
show that the kids would watch, but that 
would be geared totally toward an adult 
science-fiction fan. We always had the 
robot-blasting for the kids, but the stories 
were definitely adult in nature. You can see 
by what I've told you so far that the second 
season was going to be even more adult." 

Speculation on the future, if any, of Cap- 
tain Power and the Soldiers of the Future 
runs rampant at this point. But the future 
has its share of obstacles: Tim Dunigan is 
now Young Davey Crockett, as part of 
Disney's new anthology series. David (Lord 
Dread) Hemblin was not scheduled to return 
for a second season. Actresses had been 
auditioned for the roles of Ranger and 
Morganna II but final selections had not 
been made. The creative behind-the-scenes 
personnel are all currently busy elsewhere. 

"There is the possibility of a TV movie if 
somebody doesn't pick up the check for a 
second season," notes DiTillio. "There are 
certain second season episodes that could be 
restructured into something that would ef- 
fectively tie up the story's loose ends. 

"Before Mattel pulled the plug, we had 
also begun discussing a possible third 
season, but none of that is on paper. It's all 
in my head and I really don't see the point in 
going into specifics about another lost 
season. But the possibilities were endless. 
We might have even taken the show into 
outer space." 

Larry DiTillio punctuates the statement 
by leaning back in his chair and interlocking 
the fingers of his hands. 

"But however things turn out, I really 
want to see the end of this fight." -{g 

SI AKLOG/ January 1989 57 

Brian croucher 

Deadly Nemesis 

in black leather & eyepatch, he pursued the 
heroes of "Blake's 7." 


It was a stupid idea," Terry Nation, 
creator of Blake's 7, says today. It was 
also, an outsider might remark, typical 
of the BBC. Blake's 7 was about to start its 
second year of filming and Stephen Grief's 
agent decided to make a bid for more 
money — hoping, Nation explains, to settle 

down to do some serious negotiating. Grief 
had originated the role of Blake's deadly 
nemesis, Travis, and had done a more than 
credible job of portraying the vengeance- 
driven Space Commander during the show's 
first year. 

Surprisingly, the BBC chose not to 

The face may have changed, but Travis' 
(Brian Croucher) cruelty remained the 
same, as one poor Federation prisoner 
(Jan Sherwin) soon discovered. 

negotiate. Believing viewers wouldn't see 
beyond "the black leather costume and the 
eyepatch," their idea was to cast another ac- 
tor in the role. Nation was astounded, but 
had to go along with their decision. True, 
the same ploy had worked before, on other 
series, but this time, Nation acknowledges, 
it didn't turn out the way it was intended. 
The actor cast as "Travis, Mark II," was 
Brian Croucher and he was most definitely 
not about to deliver a parroted copy of 
another actor's performance. 

On meeting Croucher— a tall, 6'2" bear 
of a man with impish eyes usually hidden 
behind dark glasses— one wonders why 
anyone would have been so foolish as to ex- 
pect such blithe compliance. Driven by 
boundless energy, he fairly hurdles into 
rooms, far ahead of other convention guests 
and shamelessly mugs for the fans' cameras, 
smooches babies and clowns around with 
whatever props come to hand. He has even 
been known to send snapshots of 
himself— taken while in the bathtub!— to 
conventions for charity auctions. 

"I don't like 'average,' " he says distinct- 
ly, biting into a potato chip. "I like black 
and white. I don't like any of the greys in 
between. I think you should stand out and 
be counted, and I try to be as honest as I can 
because we get further that way." He stops 
and looks unusually grim for a moment. "I 
don't like deviousness. I hate myself when 
I'm devious. I would rather say what I feel 
and have the other person go from there— I 
expect other people to do the same. That 
goes for the bigger things too, like politics 
and religion. As an actor, one is given a lot 
of average stuff and you strive to make it the 
best you can, since there's not much good 
stuff about. In terms of one's life as an ac- 
tor, one doesn't like to strive for the 
average. And I like to see things clearly even 
if it is," he grins, "confusing to see confu- 
sion clearly." 

Croucher certainly didn't bring any 
"grey" to his portrayal of Travis, clearly 
departing from what Grief had done with 
the part. Whatever hopes the BBC might 
have cherished about the fans "not 
noticing" were dashed from the start; his 
style was distinctive and very much his own. 
Michael Keating, who played Vila, 
recognized the problems Croucher faced 
stepping into a character established by 
another actor. "I admire Brian very much," 
Keating comments. "It couldn't have been 
easy coming in. It was more difficult [for 
him to come into the series as a replacement] 
than for us. I think they should have ex- 
plained it away in a better fashion. Perhaps 
he could have been the other Travis' twin 
brother — or wr-so-twin brother." 

Croucher, for his part, had not even seen 
the series before he became Travis, although 
he had originally tried out to play Blake. He 
did, however, feel the program was overly 
ambitious and, due to its small budget, 
doomed to fail to achieve "excellence." 

58 SI ARLOG/ January 1989 

Criminal Casting 

The exact details of what happened on the 
set as Croucher took on the role are con- 
tradictory. Jacqueline Pearce (STARLOG 
#121), who played Travis' boss, Supreme 
Commander Servalan, has said that the 
directors tried to make him play Travis as 
Grief had, but Croucher denies that report. 
Normally, he admits, he tries to discuss his 
character with his directors. "I try to, but 
many directors avoid that. I guess it usually 
has [more to do with] the part's size. I'm a 
character actor and I might just do one 
scene in the series. Sometimes, the director 
doesn't have enough time to talk to you 
about that one scene because he's worried 
about his leading actors. 

"This is what you have to understand. 
We talk about categorizing and typing 
ourselves — 'Well, I think they've got my 
type all wrong!' — but the category you can't 
change is [physical size] — I'm not a small 
guy, I'm big and bear-like. I'm a character. 
I'm not a leading man. I never, ever will be. 
I might be an off-the-wall leading man, but 
not the stereotype leading man who takes 
the story through and onwards. [Therefore], 
one gets as much time as one needs, wants 
or accepts. It depends; if there are a few 
scenes and you have a problem, you just 
have to get hold of the director and take him 
aside. You find the right time to talk to the 
director and you hope that the compromise 
[you must make will turn] into an," he 
chuckles ironically, " 'average' perform- 
ance! You just hope the compromise is a 
'high' compromise, not the worst sort of a 

Making the "worst" sort of compromise 
wasn't the reason Croucher became an ac- 
tor. "When I was a printer and working — as 
opposed to acting! — I didn't have enough 
self-expression. I demanded more. Some 
people accept no self-expression, and I 
thought, 'Shit. I don't want the machine to 
have self-expression; / want to have it.' I 

"I'm not a leading 
man, and I never 
will be," admits 
Croucher. "I'm 
a character." 

Their battles over and their characters killed off, Sally Knyvette and Brian Croucher 
can now afford to be the friendliest of foes. 

hated working with a machine in the 
dungeon of a factory, so I said, 'NO!' And I 
somehow got into being an actor, because 
there was a bit more to it than printing 
words on a piece of paper. It's actually say- 
ing the words and changing them so that 
people could understand a playwright's 
work. Actors and directors are of secondary 
importance in the scheme of things. It's the 
person's ideas that are important." 

Self-expression and integrity aside, 
Croucher is very much bound by the reality 
of life. Acting is a precarious profession at 
best and work isn't always easy to get. "I'm 
greedy," he says, his carefully playful tone 

veteran STARLOG correspondents, are 
the authors o/Travel without the TARDIS 
(Target, $3.25). They profiled Steven 
Pacey in STARLOG #135. 

STARLOG/January 1989 59 

They may have been together in 
terrorizing Blake's 7, but today 
Croucher and Jacqueline Pearce 
can't agree on a recipe for revenge. 

not quite disguising the intensity of his feel- 
ings, "I really am. I try to make the best out 
of a thing [but I'm afraid] if I don't take this 
part, they're gonna stop — like, forever. I 
tend to think, if I say no to this and no to 
that and no to that, then I don't trust the 
one I want is going to come along. I'm a 
'jobbing' actor. I try to make a good job of 
wherever they put me." 

Roguish Roles 

Croucher does admit to a certain fascina- 
tion with American television and the 
Hollywood image. "American television has 
all the budget, time and enthusiasm, but no 
taste. We've got taste but no budget, no 
time and no enthusiasm. That's the dif- 
ference," Croucher notes. "I think 
American TV could be much better." 
There's a sudden spurt of laughter. "English 
TV could be much better! American televi- 
sion and movies sell themselves short on the 
so-called human condition. It's always a bit 
amusing; there's always a bit of gloss, that 
taking-away from the shit of reality, which / 
like. I like reality. Apart from being a 
spaced-out person, I really do like reality." 

Not everything finds disfavor in his sight, 
however. "I love the comedies. I love 
Cheers, I like Taxi, St. Elsewhere and, of 
course, stuff like Hill Street Blues. I find 
Hill Street Blues quite entertaining and even 
quite frighteningly real at times. The regular 
guys in the series get to beat up somebody 
every week. It doesn't look like they hold 
their punches! I like the fact that they've 
broken a mold." Coincidentally, Croucher 
now has a featured role as Detective Inspec- 

tor Wyatt in the BBC series Rockliffe's 
Babies, rumored to be modeled after Hill 
Street Blues. 

Not above breaking a few molds of his 
own, Croucher, like many other British ac- 
tors, has considered trying his luck in 
Hollywood. "I would be interested in doing 
anything once. Whether I would want to do 
it twice, I don't know. People say, 'You 
wouldn't like it.' I would like it in one way 
because it's a challenge, you know? But it's 
like," he searches for an example, "Picasso 
meets the Mafia! I think I would have a 
great big lump on my head from banging it 
against a brick wall, 'cause those guys 
wouldn't know what I was talking 
about— or wouldn't want to know. 

"You have to be somebody like Robert 
De Niro to get your way. If you're not, 
you're just part of their system. I want to be 
part of a family, not a system. The system 
doesn't run for the good of mankind; it runs 
for the good of people's pockets. We all 
have to have money in our pockets, but 
these people take it to a greater extent. I 
mean, we can only sleep in one bed and eat 
three meals in a day. Why do they need all 
this? We've got to change people's thinking 
and I don't think I could go to Hollywood 
and change their thinking and say, 'Hey, 
let's be fair with Brian!' " There is a 
momentary pause before he says, "But I 
would like to have a go!" 

Some of his past work is remembered 
wjth rather more detail than his days on 
Blake's 7. One experience was with George 
Segal, Robert Morley and Trevor Howard 
on HBO's The Deadly Game. "It was a 

great privilege and pleasure [to work with 
these people] and I had the most wonderful 
part that you would ever want to have with 
those guys around. I played this mute who 
didn't have any lines. So, I didn't have to 
learn any lines when I went to rehearsal. If I 
had to learn anything in rehearsal, it was not 
to make George laugh because it had to be 
serious when we did it." Suddenly, his voice 
is pitched a little higher, " 'But George, I 
know I'm a mute, I shouldn't be speaking, 
but DON'T LAUGH! It's not funny, 
George!' There aren't many people who say 
that to George Segal." 

Croucher has a self-confessed preference 
for theater work over television and the 
credentials to back up his choice. He has 
acted in various theatrical companies 
throughout England and Wales as well as 
several TV shows, including Doctor Who 
(Borg in "Robots of Death"), The Profes- 
sionals and The New Avengers. Why the 
theater? "Because you're more in control 
over what you're doing. Once you've agreed 
you're going on that first night, that you're 
going to do it that way, you do it that way! 
Whereas on television, once you've done it, 
they can do it that way, or that way, or 
another way! There are many people who 
f can change what you're trying to do and you 
can look at it and think, T was trying to do 
I something completely different from that!' 
5 It's a director's concept medium and very 
I difficult for an actor to be in control with his 
material. On stage, you are. At 7:30 or 8:00 
p.m., there you are and it's up to you to 
take that show through to 10:30. Or help to, 
in some way. It's good and it's real and it's 
happening then. If you're worth your salt, 
every good actor can do it on the stage. A 
bad actor can't do it on the stage. [On the 
stage], you communicate with people. If you 
can't do it on that basis, then I don't think 
you're an actor." 

Although Croucher's stint on Blake's 7, 
like his predecessor's, lasted only one 
season, he has been invited to both British 
and American B7 conventions and has en- 
joyed meeting the fans, something he has 
found to be an interesting experience. "You 
don't realize, you see, there's this whole 
mass out there watching what you've done 
in rehearsal and you don't realize they are 
human beings and they've got every right to 
take it whichever way they like. And then 
suddenly, there are all these people who 
watch the program and are obsessed with it. 
Fans, especially American fans, are children 
of the media. From a very early age, you 
[Americans] have films and television 
pumped at you ... I can understand where 
it's [the obsession] coming from and I don't 
think it's unhealthy. As long as you have a 
good time and we're all friends — that's what 
it's all about, friendship— [the fact that] it's 
based on our program is nice." 

Would the BBC executives— if they had 
the power that day long ago to look into the 
future— have made the choice they did? The 
answer's debatable, but one thing is certain: 
Brian Croucher was determined never to be 
remembered just as a "black leather 

costume and an eyepatch! 


60 SI &RLOG/ January 1989 

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(continued from page 20) 

pie tend to remember the villains more than 
the heroes. Everybody wants to hiss and 
boo. Everybody loves villains. It gives them 
a sense of superiority because they can feel, 
'Well, I'm not as bad as he is.' " 

On the other hand, Colicos believes that 
people tend to identify with villains. "Deep 
down in their hearts, they know they can 
never be Superman or Clark Gable. It's 
much easier to deflect all that feeling into 
the villains, who maybe get their comeup- 
pance in the end, but get a good run for 
their money. They're fighting the system, 
they're fighting everything, and it's a great 
release valve for people." 

His opinions about the current state of 
television are equally strong. "It has gotten 
progressively worse," he comments. "Years 
ago, there was less stereotyping, more im- 
agination, more creativity, more freedom. I 
was in the tail-end of live television, the U.S. 
Steel Hour, the Hallmark Hall of Fame. It 
was cheaper then, so I guess they could af- 
ford to be more experimental. Now, one 
show is interchangeable with another. You 
flick from one channel to another, and you 
don't even know what you're watching. 

"The dialogue is always the same. You 
just change the tie and you get handcuffed 
or beaten up or smashed or arrested or 
something. As an actor, you leave your 
mind at home, go do your job, come back, 
get drunk and forget about it all." 

However, Colicos still enjoys doing genre 
work. "When you do science fiction," he 
notes, "then the imagination can run wild. 
All of these films appeal to the childish im- 
agination in everybody. Battlestar was like 
playing games again, with mad costumes 
and ridiculous lines, being the lord of the 
universe — it was a ball. I love Star Trek, 
too. I've got most of it on tape, as a matter 
of fact. I had fun on Star Trek because I just 
literally walked from set to set following my 
makeup around. I would love to do Baltar 
again. I would love to do Kor again, and 
some day, before I die, I would like to play 
Ming the Merciless." In fact, according to 
Colicos, there was a possibility that Kor 
might have returned in Star Trek II, but the 
filmmakers opted for Khan instead. 

Currently living in Toronto, Canada, 
Colicos is renovating a house to make room 
for his many career artifacts and his 
4,000-volume theatrical research library. His 
latest feature is a supernatural thriller called 
Shadow Dancing. 

"I've always remained a 19th century, 
slightly hammy, overblown actor," he in- 
sists. "I prefer gigantic parts with huge emo- 
tions to playing kitchen drama. All this 
realism is just tedious and boring. 

"I'm too big for television now," John 
Colicos adds wryly. "I'm too big for my 
house. I belong on another planet 
somewhere. I wish there were a space shuttle 
going to Mars. I would take my Shakespeare 
and start a new company . . . somewhere up 
there." •# 


(continued from page 26) 

You think he's joking this time? No, it's 
all true, as other Second Sight cast members 
confirm. The plot is too whacked-out not to 
be true. Briefly, the storyline hangs on the 
kidnapping of the Cardinal of Boston, who 
is in line to be the next Pope. Is this a con- 
spiracy to prevent him from assuming the 
Papacy? This is what the Second Sight 
Detective Agency is called in to uncover. 
Their client is a nun, played by Bess Arm- 
strong. But there are complications. Larro- 
quette's character and the nun find 
themselves drawn to one another, and Bran- 
son Pinchot's spirit guide, whose name is 
Murray, turns out to have been in love with 
Armstrong before his death, which led to 
her entering a nunnery. Even though he's 
dead, he's insanely jealous. 

Chostbusters it's not, as Larroquette 
readily admits. 

"It's not a special FX movie. I think it 
would be a mistake to describe it as such. 
It's not like Ghostbusters in that regard. 
There's no slime in this film. Only ice 
cream," he adds cryptically. 

By all accounts, Second Sight is a spoof, 
and Larroquette's character, while not really 
similar to Dan Fielding, certainly finds 
himself in comic situations analgous to 
Night Court. So, why did Larroquette, who 
prides himself on not being pigeon-holed, 
accept the role? 

"The money," he jokes. "I'm psychotic. 
I need to act," he adds, only half-kiddingly. 
"The character, actually," he finally ad- 
mits, almost grudgingly. "One of the things 
I look for are people who are slightly dif- 
ferent from the character I play on televi- 
sion. And Wills is certainly a much more 
mature individual. He has much more going 
for him in his life. He's a nicer guy and in 
many ways, an actual person." 

Second Sight director Joel {Perfect 
Strangers) Zwick suggests that with Second 
Sight, John Larroquette is taking the first 
step toward breaking out of being a comic 
actor and into leading man parts. 

"I'm not trying to break out of 
anything," Larroquette insists. "I'm just 
trying to do good work." You know he's 
serious. Then, he adds: "And I'm sure once 
this film is over, I'll get a chance to." 

But in a moment of candor, or weakness, 
or because at this point in his career at least, 
the cards being dealt to him are winning 
ones, John Larroquette breaks down and 
admits to his concern that his sarcastic Dan 
Fielding persona may smother his future ac- 
ting opportunities, just as it has overwhelm- 
ed this interview. 

"That's the biggest fear I have in the 
world," he says. "Being the Joe Flynn of 
the '80s. I try as best as I can in roles to 
avoid that. It's difficult. Especially with the 
Night Court thing; it became paramount to 
avoid playing complete raging assholes." 

And this time you're certain he's serious. 
Or as certain as you possibly can be with 
John Larroquette. ■& 


(continued from page 31) 

he wanted to do was dance — he fancied 
himself a tap dancer. I wore this very un- 
sophisticated, very uncomfortable makeup 
which was more like the TV Klingons than 
anything else. And Judd Hirsch was a 
fabulous character; he really carried us all 
along. Henry Gibson as Igor was fun to 
work with. Whenever Judd, as Dracula, 
turned into a bat by saying 'teeny tiny bat, 
teeny tiny bat,' we all just fell down with 
laughter. That came out of nowhere." 

Schuck is also a fine singer, and at one 
point was discussed for the leading role in 
the proposed Broadway musical 
Quasimodo! by Lionel Bart. Schuck had 
forgotten about the play until reminded, but 
admits that although musicalizing The Hun- 
chback of Notre Dame was a bad idea, it 
"might get resurrected, now that we're go- 
ing into all the bizarre shows." 

Among Schuck 's other genre appearances 
was a lackluster, trivial made-for-TV movie 
that unaccountably had some theatrical 
release, Earthbound. It "was shot as a TV 
pilot up in Pike City, Utah, for Schick Sunn 
Classics," Schuck recalls. "They shot 
everything in 16mm; it was done very quick- 
ly, two weeks, something like that. All I 
remember is that the countryside was 
wonderful and the script was not." There's 
no good reason for anyone else to recall 
much about this story of a family of human 
beings from space, stranded on Earth when 
their flying saucer breaks down. 

Because of his association with Rock 
Hudson (whom he liked very much and con- 
sidered enormously generous) and other 
stars, and because it has affected him from 
time to time, Schuck muses that "the need 
for heroes or to associate with celebrity, to 
get part of that, is interesting — but I don't 
think it's phenomenal at all, it's a very 
natural thing. I had an incident happen the 
third or fourth year of McMillan." On a 
weekend morning, Schuck and his brother 
were watching television, when two attrac- 
tive young ladies arrived at his front door, 
and asked if they could come in; they 
brought a covered wicker basket with them. 
"I had never seen either one of them 
before," says Schuck, still mystified by the 
incident. "They had brought a wonderful 
picnic which we had al fresco on the living 
room carpet. They were charming, 
delightful, interesting, vital women, who 
said, after a couple of hours, 'Thank you 
very much for having us in.' I said, 'Thank 
you very much for the wonderful picnic' 
And they left, never to be seen again. 

"I wondered what could this mean? What 
were they doing? And I think, for whatever 
reason, they just wanted to be part of my 
life. They wanted me to know that they ex- 
isted. And I acknowledged that, in the best 
way that I could; I thought the whole thing 
was terrific. Not that I want people to drop 
by unannounced; this is not an open invita- 
tion," John Schuck says. "But it was one of 
the nicest things that ever happened to me." 

ST ARLOG/ January 1989 63 


(continued from page 40) 

many times I would walk in with a nice blue 
suit, nice tie — you know, very proper — and 
I would read, but they were looking at how 
clean cut I was, instead of seeing me act." 

At that point, he started new acting 
classes with Brian Reise. "One of the few 
things he and my manager said was, 'No 
matter what the interview is, go in in a 
sweatshirt and jeans. Because then they're 
looking at you, not your clothes,' " recalls 

"Also, Brian gave me material and read- 
ings on psychos and bad guys and muggers 
and things like that, just to get rid of all that 
nice guy image," says Dorn. "He said an in- 
teresting thing: If you really are a sweet- 
heart, a nice guy, that's what comes across, 
in bags, in bushels. You don't need to act 
like that to have that come through, you 
see? You can just give a little hint, you can 
look at somebody, and that would come 
over. But the best idea is to totally go against 
that; don't smile at all. 

"That's what I did with the Star Trek in- 
terview — no smiles, no jokes. People would 
come by and smile and talk to me, and I 
would just pretty much scowl at them. And 
they realized from the minute I walked in 
the office, I think, that this is Worf." 

But it wasn't just good advice from his 
teacher that helped Dorn get the part of 
Worf. There was also his own familiarity 
with science fiction. "I was a Star Trek 
kid," he confesses. "I watched the old series 
from the beginning. I've always liked science 
fiction. My favorite movie is Star Wars." 

So, Dorn was ready when his manager 
called with the news they were casting the 
role of a Klingon. "My manager — and eve- 
rybody — was asking me, 'What's a Kling- 
on?' And I said a Klingon's this, and he's 
that, and I was telling them about the show 
and the movies. So, I really had a good 
background to what Worf was all about." 

Dorn is not the kind of actor who likes to 
speculate on his career beyond the current 
job. "I just want to finish this series right 
now," he says when asked his goals. "Even- 
tually yes, I would love to be able to go right 
from TV to movies. But, you have to wait 
and see." 

Music, however, will be a part of his fu- 
ture plans. Feeling more secure in his acting 
career, Dorn says that "now I can do 
both." About three years ago, he started 
playing again with a group called "Drusilla 
and the Blind Dates." He has since formed 
a new band, "The Little Wallies," with a 
group of other actors. 

"They were in my acting class, and hap- 
pened to be good musicians," he says of his 
fellow band members. "We play a lot of old 
Motown, our own stuff, some blues, some 
straight-ahead rock and roll. It's a nice 

Will Dorn ever record an album? "You 
never know!" Michael Dorn replies, and 
then adds with a laugh. "But it won't be 
called 'The Worfs'!" A 


(continued from page 47) 

"It was on the ABC Evening News. I 
played the Sears Tower, the world's tallest 
building. Then, the ABC affiliate in 
Cleveland flew me there to play a building. 
This was all while I was in acting school and 
I remember being in Cleveland, eating a 
lobster and drawing on my little sketchpad 
and thinking, 'Boy, I'm eating lobster 
because I play buildings. I looove show 
business!' " 

His musical abilities also led to a gig on 
the original Laugh-In circa 1972. "I was the 
Discovery of the Week. I played some of the 
instruments I had invented — the 
Teutonophone, the Tautoonophone and the 
Alto and Base Shower Hose. I played 
'There's No Business like Show Business' on 
two shower hoses at once." 

Advised by Chicago comedy guru Del 
(The Blob) Close (STARLOG #134), 
Fleischer relocated permanently to Los 
Angeles after leaving the Goodman Theatre. 
Further advice came from Bill Cosby. "I in- 
troduced myself to him, 'I'm a 
comedian,' " Fleischer recalls. "He said, 
'C'mon in.' I sat there just like I was talking 
to an old friend. I had seen him on / Spy. 
He was totally wonderful to me. I don't 
know if he would even remember that 
meeting, but he said, 'Go to the Comedy 
Store.' So, I did, I started working 
there — and Bob Zemeckis saw me there 
eight years ago, which led to my doing 
Roger Rabbit." 

During those years "waiting for 
Zemeckis," Fleischer also made several hor- 
ror movies including The Hand (as the car- 
toonist who replaces the handless Michael 
Caine), A Nightmare on Elm Street (as the 
dream clinic's Dr. King) and the recent Bad 

By the way, though the name's the same, 
Charles Fleischer isn't part of the family of 
animators Max and Dave Fleischer. "We're 
related only in that all men are related 
through the spiritual bond that ties all living 
things," he observes. "There was another 
Charles Fleischer, though. He invented the 
claw, that thing in the amusement park ar- 
cades that comes down and grabs trinkets." 

Rabbit Tales 

For Charles Fleischer, science has always 
been an area of new and exciting discovery. 
Even in the shower. "I've always sensed 
there was alien life out there," he an- 
nounces, "so when I was a younger man 
and was taking a shower, I would wonder: 
What if they're observing Earth and me 
while I'm taking this shower? I want to 
make sure that they're entertained and that 
they know Earth is cool and so am I. So, I 
used to do comedy bits in the shower for this 
alien audience which was conceivably 
watching me." 

Extraterrestrial life isn't his only interest. 
"I have a mathematical formula which I 
have discovered — some people know it 
because I do it in my act — called Moleeds," 

Fleischer explains. "What are Moleeds? 
Moleeds are the primary particle of the 
universe. All things can be reduced to an ar- 
rangement of Moleeds. It's based on the 
numerical arrangement between the 
numbers 27 and 37. Because one divided by 
27 equals .037 and one divided by 37 equals 
.027. And it is on these two reciprocal rela- 
tionships that all things in the universe are 
based. Moleeds: 27, 37. All things are 
Moleeds. That's natural stuff for 
STARLOG readers. 

"I'm really into science as well as science 
fiction. My goal is to win the Nobel Prize 
and the Academy Award in the same year 
and then open in Vegas. Talk about press. 
[Adopts nasal emcee voice], 'Here he is 
from Oslo and Hollywood, that wacky 
scientific comedic rabbit, Charlie 
Fleischer.' " 

Fleischer's other future plans include a 
book on Moleeds and an album of music he 
has written. "It's kind of a cross between 
the Beatles, Bob Dylan and Cole Porter," 
he offers, "with a little bit of U2, Randy 
Newman and Billy Joel thrown in, but I 
can't be specific." 

A sequel to Who Framed Roger Rabbit is 
also a possibility. "Only time will tell," 
Fleischer says. "I have no doubt that Roger 
will live longer than all of us. The movie's 
the most wonderful thing I've ever done." 

But is he tired of all of this, the 
autographs, the glitter, the interviews? 
"This is cake!" he exclaims. "After 15 years 
of being rejected by just about everybody in 
Hollywood, are you kidding? I was born to 
do this interview. What could be more 
wonderful than to have people come and 
ask you questions so other people can read 
about it? You look in the dictionary under 
'happy' and it says, 'Sorry. This doesn't 
describe it.' How about 'Delighted?' 'Sorry. 
You're in a different league.' 'Unbelievably 
bemused.' 'Sorry. Find another word.' 
'Shalomannointed.' 'That'll do it!' But it's 
twice that. 

"I'm a happy guy. And I was happy 
before Roger Rabbit, so you can im- 
agine..." his voice trails off, delighted, 
unbelievably bemused, shalomannointed. 

"You know, it's very unusual to continue 
a character like this after a movie opens. 
Yet, I've done radio interviews as Roger and 
even talked to the New York Times as 
Roger. They asked questions like, 'What are 
your Mom and Dad's names?' [As Roger], 
'Mom and Dad.' 'Where are you from?' 
[As Roger], 'Toontown. I was drawn there 
at an early age.' It was very bizarre, very 
surrealistic. But I can do it like that because 
of all the characters I've ever played, I'm 
closest to Roger Rabbit. 

"Roger says in the movie, 'I'm a Toon 
and Toons are supposed to make people 
laugh.' And essentially, as a comic, that's 
my job, too. 

"So," Charles Fleischer begins, once 
again assuming the voice of his Toontown 
alter ego, "hello to all my pals who read 
STARLOG. And I don't know if you can 
tell, but this is Roger Rabbit saying, 'P-p-p- 
puhleezed to meetcha. Ho-ha!' " 


64 STARLOG/ January 1989 




After making a "Splash" with the beasties of 

"Beetlejuice," Robert Short returns to the 

underwater wonders of "Cocoon." 


Want to know how typecasting 
works? Ask Robert Short." When 
my only credit was Alligator, the 
only calls that would come in were for 
severed limbs and cut-up bodies. After Co- 
coon, it was, 'Can you build us a shark?' 
And now, with Beetlejuice, I'm going to 
have to live with the reputation of being the 
guy who does weird, wacky, zany characters 
for a long time." 

Not that the special effects man, whose 
talents have contributed to such hits as E. T. 
and Splash and such misses as Creature and 
Chopping Mall, is complaining. During a 
quick tour of his Venice, CA shop, there is 
much evidence that Short is making hay 
from this latest bit of labeling. A half-dozen 
of Short's crew are crouched around an out- 
door table, putting the finishing touches on 
appliances for the movie Little Monsters, a 
job Short landed as a direct result of his 
work in Beetlejuice. 

Short, a low-key, personable type, claims 
he has no problem riding a wave of iden- 
tification with a particular type of effect. 
But he likes to think a major reason for his 
"in demand" status is his FX philosophy. 

"I believe in doing character effects rather 
than particular kinds of special effects like 
monsters or old age makeup," Short 
observes. "I've never been a believer in do- 
ing just one thing. Whatever it takes to 
enhance a character in a film, be it a 
makeup effect, something mechanical or 
whatever, that's something I'll get my 
fingers into." 

Recently, four years after his work in the 
original, Short dipped his fingers into Co- 
coon's sequel, Cocoon: The Return, an 
assignment he stops short of saying he did in 
his sleep. 

"But Cocoon II was pretty straightfor- 
ward," Short says. "The techniques we used 
on the original Cocoon were so tried and 
true that we just repeated all the steps from 
the first film." 

However, Short's second tour of Cocoon 
duty was supposed to begin with the 
revamping of the titular chrysalides. Most of 
the original cocoons had been left in a 
watery Bahamas grave after the first film's 
completion. Allegedly beyond repair, Short 
and his crew discovered differently when the 
main sphere, complete with lights, was fish- 
ed out of the drink. 

"It was totally full of corrosion," recalls 
Short. "There was no way it was going to 
work after being underwater for four years, 
but we decided, just for the hell of it, to 
reattach the wiring. And it still worked! 
Nobody could believe it." 

Short, using the same fiberglass base shell 
and outer organic-appearing sculpture, con- 
structed a total of 14 new cocoons. A second 
main cocoon, with lights and a lid that 
opens, was built to the specs of the water- 
logged but functioning oval. Another co- 
coon, sans lights but with opening and clos- 
ing capabilities, was constructed. Rounding 
things out were a grouping of hollow, one- 
piece spheres. 

Short shipped most of the cocoons to the 

The underworld clamps down on Short 
(center) so no one mouths off about 
Beetlejuice FX secrets. 

Florida location. But for the sequel's se- 
quence in which scientists discover the co- 
coons, the main objects were sent up north 
to Industrial Light and Magic for FX work. 
Short went along for the ride and, in the 
process, ended up dusting off a Screen Ac- 
tors' Guild card he hadn't used since a stint 
as a THRUSH agent in the TV movie The 
Return of the Man From U.N.C.L.E. 

"I had gone along to make sure the lights 
would function correctly," relates Short, 
"and they were getting ready to shoot a 
scene where a technician would dismantle 
the cocoons. I asked Dan [Petrie, the direc- 
tor, interviewed in STARLOG #137] if I 
could read for the part and he said sure. If 
nothing else, it proved a bit convenient to 
have the guy who created the cocoons also 
destroy them." 

STARLOG/January 1989 65 

When it came time for a scientist to open up the cocoon in The Return, Bob Short 
dusted off his SAG card and took a crack at his creation. 

Petrie asked little of Short in the way of 
on-set alterations in the cocoons. With time 
to spare, Short and company amused 
themselves with some minor Cocoon II FX 
business, such as the harnesses that the co- 
coons are brought up in and the cheesey 
looking trinkets that Steve Guttenberg's 
character sells in the film. 

Fishy Business 

But the most interesting thing that Short 
remembers about his Cocoon: The Return 
duties wasn't so much the FX work as it was 
the striking similarity between director 
Petrie and first Cocoon helmsman Ron 
Howard (STARLOG #97). 

"That was the strangest thing about do- 
ing a second Cocoon movie after four years. 
It was like everybody connected with that 
first film had been in a time warp and 
somewhere along the way, Opie had grown 

Short's opportunities on the original Co- 
coon were also pretty straightforward. He 
searches his memory for the particulars on 
that first watery outing. 

"The big challenge for everybody on that 
film was making the dolphins real," he 
recalls. "Ron and the producers realized 
early on that mechanical dolphins would 
probably be necessary at some point. They 
initially attempted to shoot the scenes with 
real dolphins in an aquarium tank. But the 
test footage showed that there was no 
camera angle that couldn't show some part 
of the tank." 

Eventually, it was decided that the film 
would be shot in the Bahamas and that wild 
dolphins would be caught and trained for 
some scenes as when Guttenberg jumps off 
the back of the boat and a finny friend 
pokes its nose through the ocean's surface. 

Short, who describes himself as "a real 
dolphin person," prepared for the job by 
shooting video footage of real dolphins and 
studying the detail of facial features and skin 
texture. Then, it was off to the workshop. 

"We built one nose-to-pectoral fin 
mechanical dolphin head," says Short. "We 
built in cable-controlled neck movements, 
eye blinks and even an operational 
blowhole. We also built a full eight-foot, 
head-to-tail mechanical dolphin that had 
one man sleds attached to its belly that 
would allow us to propel the dolphin 
through the water in a convincing manner. 
In both instances, we used a fiberglass 
substructure and a Skinflex surface." 

Short took his mechanical charges to the 
Bahamas, where he spent a week in the 
water getting the real dolphins used to their 
bogus counterparts. 

"They were a bit leery of them— and 
us— at first," reports Short, "but the real 
dolphins were so used to their presence by 
the time the scenes were shot, they would 
toss the fakes around as if they were toys." 

Short's credit on Splash, his first film with 
Howard, isn't something he's ashamed of, 
but mentioning it does strike a nerve. 

"Mention that movie and all people think 
is, 'Yeah, you did the tail,' " Short pleasant- 
ly complains. "And I think, 'No, we did the 
makeup.' " 

He's referring to the distinctive bronze- 
hued makeup worn by Darryl Hannah in the 
movie. "We experimented with all kinds of 
waterproof makeup and pigments before we 
came up with that color. It's not like we just 
slipped somebody into the bottom of a mer- 
maid tail and said, 'Go.' " 

Having given the makeup its due, Short 
goes into the specifics of the tail and, in par- 
ticular, the bathtub transformation se- 
quence in which Hannah gets out of bed, 
walks down the hall, steps into the bathtub 
and sprouts fins and a tail. 

"It -was shot in one sequence," notes 
Short. "Darryl had all the pneumatics that 
would operate the Skinflex tail hidden under 
her bathrobe. When her feet hit the water, 
the tail unfolded into the water and the tub- 
ing and cables were removed. We also had a 
nifty sequence planned in which an ar- 

Working on Splash entailed more than just 
dealing with Daryl Hannah's lower half. 
' That's Short in white T-shirt with crew. 

ticulated pair of feet would hit the water and 
sprout fins. Unfortunately, there wasn't 
enough water in the tub to sell people on the 
scene so it was cut." 

Scary Stuff 

Short considers his recent work in Co- 
coon: The Return "a real vacation after 
Beetlejuice." Short has talked up his con- 
tributions to that wacky Tim Burton- 
directed fantasy on several occasions and is 
openly struggling "to tell it a little differently 
this time." One thing that doesn't change in 
Short's telling is the "up-against-the-wall" 
nature of the project. 

"We only had three months to pull it all 
together," says Short in mock exhaustion. 
"And even at that, designs were still coming 
into us that had to be built real fast and 
delivered to the sets for immediate use. 
There was just so much to supervise. I was 
running from set construction to sculptures 
to puppeteering. It was real tough." 

66 ST &RLOG/ January 1989 

Adding to the toughness was the fact that 
Beetlejuice's main special effects were shot 
live and, for the most part, in sequence. 
Short, however, didn't let those obstacles 
get in the way of the FX philosophy 
established with director Burton and FX 
coordinator Alan Munroe. 

"We were aware that we were dealing 
with creatures that had no basis in reality. 
So, the big challenge was to come up with 
clean, rather than gruesome, ways of depic- 
ting abstract anatomy in a clever manner." 

Short cites the first FX scene in the film, 
ih which Geena Davis (as Barbara) rips off 
her face in the closet. 

"There was no gore, no glycerine and on- 
ly a few shreds of tendon to stick to the face 
when the skin was torn away," he explains. 
"The skull was articulated, which isn't so 
unusual, but in keeping with the film's 

Puppeteers lent Short a hand for a simple* 1 
but hilarious gag in Beetlejuice. 

STARLOG/January 1989 67 

bizarre tone, we made the eye orbits extra- 
large and gave the skull around 200 teeth." 

Another Beetlejuice trick that Short 
thinks "hits" is the subtlety of the 
headhunter victim. "There was a minimum 
of movement. We articulated only up-and- 
down and side-to-side head movements and 
a bit of eye movement. It's a lingering shot 
that definitely works." 

As does the show-stopping dinner se- 
quence, complete with attack shrimp. 

"That was pretty simple, too. They're 
shrimp latex hand glove puppets with the 
puppeteers hidden under the table." 

However, Short is quick to focus his 
critical eye on things he feels either didn't 
work or, in a few cases, didn't even happen. 

"We originally did the snake stair rail 
before Michael Keaton was hired. So, what 
we did ended up not looking anything like 
him. What people see in the film was 
ultimately done as animation. We also did 
additional sandworm sequences and a 
moldering corpse that jumps out of a grave 
that were cut due to time considerations. 

"The thing that made it into the film that 
just didn't work for me was Adam and Bar- 
bara's stretchy face scene. They were on 
screen too long. When I see those now, I 
just groan, but we hit the mark so many 
times with that film, I really don't have 
much to complain about," admits Short. 

Ditto his current project Little Monsters, 
a fantasy film about a boy (Fred Savage) 
who discovers a monster living under his 
bed, a monster whose aesthetic sensibilities 
are similar to those of Beetlejuice. 

"What we're doing is primarily facial 
makeup and minor remote control," says 
Short of the more than 30 whimsical kid 
makeups he's creating for the project. "On 
Maurice the Monster [portrayed by comic 
Howie Mandel], we've taken great care with 
the appliance work to give Howie complete 

As is befitting his troubleshooter reputa- 
tion, Short got his Little Monsters call a 

Impressed with Short's work on Masters of 
the Universe, Gary Goddard enlisted him to 
redesign Captain Power's battle suits, 
making them less Buck Rogers-like. 

scant month before filming started. The 
rush resulted in what he considers some 
refinements of makeup and FX techniques. 

"Because we have so much makeup to 
apply on a daily basis, we used stencils and 
an airbrush that allows us to do the kids' 
makeup rather quickly. For an FX scene in 
which a creature's eyes stretch and then pop 
across the room, we managed to reduce the 
number of puppeteers from three to one by 
converting the whole cable system into 
something that resembles an assault rifle 
that allows one puppeteer to handle the 
whole sequence." 

It was making monsters of a different sort 
battle ready that got him a pair of less hor- 
rific jobs, though. Short came upon the ar- 
mor plating of Captain Power and the 
Soldiers of the Future after performing 
similar forging of that show's creator's 
directorial debut, Masters of the Universe. 

"Gary [Goddard, Masters direc- 
tor/Power creator] liked what I had done on 
Masters [such as Skeletor's soldiers' suits] 
and, when the initial designs for the Captain 
Power suits were too Buck Rogers, kid- 
oriented, he called me in three weeks before 
they were scheduled to shoot the 
pilot/promo film." 

Goddard's cry for help prompted Short 
to create power suits that were very military 
and very functional. 

"Each character had two primo and two 
stunt suits," Short says. "The main 
costumes were made out of fiberglass and 
sprayed with a metalizer. The stunt suits 
were made of rubber and then chromed. We 
(continued on page 70) 

When Michael Keaton was brought into 
Beetlejuice, out went Short's snake 
concept. A stop-motion version resembling 
the actor was used instead. 







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(continued from page 52) 

STARLOG: We know from several people 
that he had a short fuse. Did he ever lose his 
patience with you? 

COATES: Never. But I did see him lose it a 
couple of times with others. Barney 
Sarecky, who was head of production, used 
to come down and raise hell with us because 
George would whip out the bottle every day 
on the set about 4:00 p.m. In those days, we 
worked six days a week, from very early in 
the morning until 6 or 7:00 at night, and we 
were working for short money. And so at 
4:00, we drank — George and I became good 
drinking buddies [laughs]\ This drove the 
production office crazy, and George would 
say to them, "Go shit in your hat!" That 
was really one of the reasons why I wanted 
out of the series — after George and I had set 
up this pattern, it was hard to break it. 

George had a photographic mind, and he 
was such a fast study— it was great to work 
with him. I'm a fast study, too, but not as 
fast as he was. We averaged 24 pages of 
dialogue a day, and that's a lot of dialogue. 
And that involved only two people. We shot 
fast, we were seldom into two takes. And 
George was the kind of guy who, if you had 
a close-up, didn't let the script girl read his 
off -camera dialogue. He would be there — at 
least, he was that way for me. We had a 
great working relationship as well as a good 

STARLOG: Was he one to clown around? 
COATES: Yeah, George was always telling 
stories. And he used a cigarette holder, and 
that gave him a very foppish look — George 
in his Superman suit, with a cigarette 
holder! He and John Hamilton [Perry 
White], were always telling stories, and 
George was always pulling jokes and gags. 
STARLOG: Have you ever seen any other 
actors who've played Superman? 
COATES: I never did see Kirk Alyn play 




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Superman. Christopher Reeve is a wonder- 
ful actor and a good-looking guy, and really 
is the Superman for the 1980s. Not too long 
ago, Margot Kidder [Lois Lane in the 
Superman movies] was here in Carmel 
[California] stumping for Jesse Jackson, 
and I was invited through some publicity 
people to attend that luncheon. I thought it 
was kind of cute to be able to meet with her. 
She really is my favorite Lois Lane— I think 
the two of them make a great team, and 
their relationship in these movies is the way 
it should have been. But this is the '80s and 
when we did it, sex was taboo. In those 
days, if Lois even smiled at Clark, they 
would say [wagging her finger], "No, no, 
no— none of that!" I felt like a horse with a 
bit in its mouth! But, again, I do like 
Christopher Reeve. He's a very good actor, 
and I like Margot Kidder better than 
anybody who has ever played the role. And 
that includes myself. 

STARLOG: Have you ever met Noel Neill? 
COATES: In 1957, I was working at the old 
Eagle-Lion Studio in Hollywood on / Was a 
Teenage Frankenstein, and the Superman 
people had moved their operation and were 
working there at that time. I ran into George 
one morning, about 8:00 a.m., and he said, 
"C'mon, let's have a drink." George's face 
was like a baby's butt — he never did show it 
when he would drink, but I couldn't do it 
anymore. Anyway, I went over to his dress- 
ing room with him and he started pouring 
me a brandy, he was talking about the series 
and he said that he was so sick of it all. 
Then, he took me over to meet Noel Neill. 
He knocked on her door and she said, 
"Come in." He opened the door and said, 
"I want you two to meet — Phyllis, this is 
Noel." I said, [exuberantly], "Hi!", and she 
said, "I hate you!" And George reached in 
and closed the door! 

I thought she was kidding [laughs] ! I still 
to this day can't fathom this! This was the 
only time I ever met the lady. She can't 
stand me, I hear! We've never been able to 
appear together, have any fun together, 
laugh about it or anything. I did a TV inter- 
view and [the interviewer] told me that Noel 
never could call me by name, she always 
says "the other lady." Noel and I could 
have had fun and laughs, and had some cute 
things happen, but we've never been able to 
share anything. It's as though her whole life 
revolves around being identified with Lois 
Lane. I mean, if you had the suit and hat, 
you were Lois Lane — this is a comic strip, 
it's not a way of life, it was not all that 

People tend to say that I'm the original 
Lois Lane, and I was the first to play her in 
the Mole-Men movie and the TV series, but 
they forget that Noel did do the Superman 
serials with Kirk Alyn in the late '40s before 
I came on the scene. Maybe that's part of it. 
Noel travels and lectures at colleges and so 
on, and she's really milked this for whatever 
she could. I can understand that, but Lois 
Lane is not what I'm all about — that's only 
one facet. I really would like a career other 
than Superman. 



(continued from page 68) 

had initially planned on making the suits out 
of vacuform but discovered that the chrom- 
ing wouldn't hold, so we switched to the 

Robert Short was born and raised in 
Southern California. And while he went 
through the making-up-his-friends-as- 
monsters-for-Halloween phase, his early in- 
clination was to get into the film business by 
being in front of the lens. 

"It wasn't science fiction and fantasy 
films that inspired me to get into the film 
business as it was the spy stuff," Short 
observes. "I loved the early James Bond 
films and was totally hooked on The Man 
From U.N.C.L.E." 

Short took a theater arts flyer at Santa 
Monica College in 1970. It was during this 
period of higher education that he received 
his first taste of studio employment as a 
stuntman, a taste, he remembers, that didn't 
last too long. 

"The stunt work was gratifying," offers 
Short, "but I quickly realized that I couldn't 
compete. The other stuntmen were nuts. 
They would do things without a second 
thought that I would turn white at the pros- 
pect of." 

In 1974, Short found entry level employ- 
ment with the Don Post Studios and alter- 
nated painting and sculpting miniatures for 
such films as Coma and Orca with acting 
roles in such TV series as Mork & Mindy 
and Wonder Woman. Acting began taking a 
backseat to Short's suddenly blossoming FX 
prospects in the late '70s. Work on Joe 
Dante's first two films, Hollywood 
Boulevard and Piranha, escalated into in- 
volvement on such spectaculars as Close En- 
counters: The Special Edition and Star 
Trek: The Motion Picture. Short was hired 
by Lucasfilm to attend to such Star Wars 
characters as Darth Vader, C-3PO and 
R2-D2 as well. 

Short is also credited with all the 
weaponry on The Return of the Man From 
U.N.C.L.E. and the eight-foot-tall alien 
visitor featured in the closing ceremonies of 
the 1984 Olympic Games. 

Since forming his own shop in 1982, 
Short has also managed to sandwich in some 
scripting credits (Programmed to Kill, Rage 
of Honor and Scared to Death II) and is 
toying with the idea of directing his latest 
script, Artificial Intelligence (Short has, in 
fact, directed some second unit work and 
helmed the U.S. sequences in Programmed 
to Kill). 

But Bob Short offers that the lure of 
special effects will never have him moving 
completely away from dusty shops, latex 
and vacuform. 

"I just like it too much," he admits. "It's 
a constant challenge because you never 
know what you're going to be asked to 
create next. I'm like Q the inventor, sitting 
around in my laboratory, waiting for James 
Bond to come through the door with some 
strange request." w, 

70 STARLOC/January 1989 


compiled & Edited by eddie berganza 

The Fan Network invites contributions 
from readers: photos, cartoons, convention 
and fanzine reports and news about fan organiza- 
tions and activities. No fiction or poetry. Nothing 
can be returned unless accompanied by a self- 
addressed, stamped envelope. Address all corres- 
pondence to: Eddie Berganza, STARLOG Fan 
Network, 475 Park Avenue South, New York, 
NY 10016. 


The following is a guide to understanding 
the Klingons; yes, it's everything (at 
least 20 things) .you ever wanted to know 
about Klingons, but were afraid to ask — for 
fear of being vaporized: 

1) While Klingons have made their 
presence felt in all the films (their simulated 
warships appeared in Star Trek II while they 
themselves are scheduled to go to The Final 
Frontier), they've been sighted in only seven 
out of the 79 TV episodes: "Errand of Mer- 
cy," "The Trouble with Tribbles," "Elaan 
of Troyius," "Day of the Dove," "Friday's 
Child," "A Private Little War" and "The 
Savage Curtain." A more animated species 
appeared on Saturday mornings in "More 
Tribbles, More Troubles" and "Time 
Trap." And yes, Worf is in almost all the 
ST-TNG episodes, but "Heart of Glory" is 
the only show so far to feature nasty old 

•2) "Klingons appreciate strong women," 
Worf once admitted. And no two are more 
appreciated than Mara (Susan Howard 

from "Day of the Dove") and Valkris 
(Cathie Shirriff, the first "new" film Kling- 
on female from Trek III). Worf met up with 
one feisty lass in "Hide & Q" and female 
bodybuilder Spice Williams is slated to 
vamp out for The Final Frontier. 

3) Klingons are allergic to Tribbles. 

4) Klingons really do know how to spell. 
See their dictionary (by Marc Okrand aided 
by Maltz,from Pocket Books) and learn to 
talk like a Klingon (but don't let your 
parents hear you). For example, maqlp- 
chug — we hit each other (qlp hit). 

5) The guy all Klingon kids hear about in 
their history classes is the first great 
emperor, Kahless the Unforgettable. 

6) The Klingon Empire's favorite TV 
show is Battlecruiser Vengeance, and their 
favorite game is a variation on 3-D chess 
called klin zha, which can also be played 
with real people using real weapons. (See 
The Final Reflection by John M. Ford from 
Pocket Books.) 

7) Sure, Worf was the first Klingon in 
Starfleet. Yeah, right. Every fan of DCs 
Trek comic knows that Konom, a peace- 
loving defector from the Empire, has served 
faithfully under Kirk since issue #3. Konom, 
by the way, married fellow crew member 
Nancy Bryce a few months ago in issue #50. 
Those who may still want to get something 
for the happy couple should know that they 
have a pattern registered at Daza's over on 
Aldalia IX. (Incidentally, DC Trek editor 
Bob Greenberger's favorite Klingon is Kor.) 

8) While not one of them has yet become 
Time's "Man of the Year," Klingons have 
captured STARLOG covers in both past 
and present. The Klingon Commander 
(Mark Lenard) from ST:TMP graced #42, 
Kruge (Christopher Lloyd) headlined #82 
and this issue, the cover Klingon is Worf 
(Michael Dorn). 

9) Interracial sex with Klingons can be 
harmful to your health. (See ST:TNG's 
"Hide & Q" and "Justice.") 

10) There is much debate as to the dif- 
ference in appearance between the TV 
Klingons and their film cousins. See issue #1 
of DCs Who's Who in Star Trek for the 
separate races theory or subscribe to an- 
thropologist Gene Roddenberry's view that 
the Klingons have always had those spiney 
foreheads; possibly bad TV transmission 
from the future made them seem otherwise. 

11) Klingons love their pets. Don't dare 
kill one during battle or a Klingon will slay 
one of your own family members. 

12) Klingons hate to bathe. (Note 
McCoy's remark about the stench aboard 
the Bird of Prey in Trek IV.) Of course, no 
one says this to a Klingon's face. 

13) Klingons love the Three Stooges. 

Ever wonder how the Klingons got those 
funny bumps on their heads? 

...AH\> X WAMT 




14) Some Klingons are known to have a 
penchant for old Earth films, especially 
those of Alfred Hitchcock. (See How Much 
for Just the Planet by John M. Ford, from 
Pocket Books.) 

15) The Klingon society observes a caste 
system. (See the novelization for Trek III, 
the unfilmed script for the TV Trek II 
episode "Kitumba" by John D.F. Black 
and maybe even the upcoming novelization 
of Trek Kby J.M. Dillard and Peter David's 
ST.-TNG novel). 

16) Klingons are excellent sword fighters. 

17) Don't bother to send flowers to a 
Klingon funeral, they don't believe in them. 
Rather they feel that the lifeless body is just 
an empty shell of the warrior's spirit. 
Subscribing to the Valhalla theory of life 
after death, Klingons announce a comrade's 
demise with a resonant howl to warn others 
in the hereafter that a Klingon is about to 
enter their midst. (See this ceremony for the 
first time in "Heart of Glory.") 

18) A treaty between the Klingons and the 
Romulans allows for the exchange of 
weaponry (i.e. the Klingon cruiser design for 
Romulan vessels in "The Enterprise Inci- 
dent" and the existence of a Klingon Bird of 
Prey complete with cloaking device.) 

19) A Klingon Bird of Prey holds 12, but 
gets lousy time travel mileage. 

20) There are no retirement homes for 
Klingons; they don't live long enough to col- 
lect their pensions. 

— Eddie Berganza 
& Daniel Dickholtz 

SI KKLOG/ January 1989 71 


Have a question that you think STARLOG 
could answer? Ask it on a postcard only and we'll 
do our best. Mail to STARLOG Queries, 475 
Park Avenue South, NY, NY 10016. Note: there 
will be no personal replies. 

B. Connor of Chamblee, GA asks: "What 
happened to the last Klingon left aboard the 
Bird of Prey before the crew went to Mount 
Seleya?" Well, Maltz can be found safe and 
sound on page 23 (or rather, John Larro- 
quette, the man under the Klingon makeup). 
The actor has his own ideas as to what hap- 
pened to his alien alter-ego, as does the inter- 
national fan club, Klingon Occupation Force, 
which celebrates this misunderstood race and 
publishes Qapla. For more information, con- 
tact Lana Brown, P.O. Box 4188, Wanganui, 
New Zealand. 

Jack Ladenhead of North Huntington, PA 
asks: "Now that Knight Rider has been gone 
for almost two years, are you planning an 
episode guide?" Much as we like KITT's 
voice (St. Elsewhere's William Daniels), we 
have no current plans for an episode guide. 

J.L. Bryor of Tucson, AZ asks: "I'm 
wondering when, or if, the Mad Max series 
will continue. What's the scoop?" During the 
time of Mad Max III, there was talk of a 
fourth apocalyptic adventure. Warner Bros. 
is still interested. Director George Miller is, 
too. And Mel Gibson has said he would do 

another sequel if the script was good. So, it is 
a project which could happen. 

Ben Baker of Marion, IN asks: "Why hasn't 
STARLOG ever reported on the SF anima- 
ted full-length feature, The Transformers'!" 

Could be because our last attempt at covering 
shape-changing vehicles (War of the Rock 
Lords: A Gobot Adventure in issue #106) 
failed to elicit any reader response. 

Robert Gerlach of Tuscon, AZ asks: 
"Assuming the show survives, will Doctor 
Who ever return to the 26-episode-per-season 
format again?" That's a question best 
directed at the BBC and the series' producers, 
but we tend to doubt that 26 episodes will 
again become the norm. 

Ray Redford of Eclectic, AL asks: "Have 
you ever done episode guides for Fantastic 
Journey, Buck Rogers, Project UFO or Man 
from AtlantisV Yes & no. The Fantastic 
Journey guide is in issue #1, Buck Rogers in 
#38, and Man from Atlantis in TV Episode 
Guide Book Volume 2. However, Project 
UFO wasn't covered (yet). Check the back 
issue ad and Trading Post for prices. 

Annie Slonski of Raleigh, NC asks: 
"Whatever happened to John Phillip Law, 

who played Pygar in Barbarellal What other 
movies has he been in and what is he doing 
now?" As far as we know, Law is still acting. 
His last major film we saw was Tarzan the 
Ape Man (1981) with Bo Derek. Other Law 

conventions T!?^.. 89 

Questions about the cons listed? 
Please send a self-addressed, 
stamped envelope to the address 
listed for the con. Conventioneers, 
please note: Send all pertinent info 
no later than 5 months prior to the 
even! to STARLOG Convention 
Calendar. 475 Park Ave. South, 
New York, NY 10016. STARLOG 
makes no guarantees,- due to space 
limitations, that your con will be 
listed here. This is a free service: to 
ensure a listing in the maga- 
zine — not here but else- 
where—contact Connie Bartlett 
(212-689-2830) for ciassifed ad rates 
& advertise in the classified section. 



December 2-4 

Lauderdale Surf Hotel & Marina 

Fort Lauderdale, FL 

SFSFS Secretarv 

P.O. Box 70143 

Fort Lauderdale, FL 33307 

Guest: Poul Anderson 



January 6-8 

Shawnee Lancaster Resort 

Lancaster, PA 


c/o Bruce & Flo Newrock 

559 Kinewood-Locktown Road 

Remington, NJ 08822 

Guests: Nancy Springer, 

Marvin Kaye 


January 7-8 
Sheraton Centre Hotel 
Manhattan. NY 
Great Eastern Cons 
RD 1 Box 25 A 
Rineoes, NJ 08551 




January 13-15 
Avalon Inn 
Youngstown, OH 


January 14-15 
Hotel TBA 
Jacksonville, FL 
P.O. Box 76 
Hollywood, FL 33022 
(305) 925-2539 


January 14 

Rome Civic Center 

Rome, GA 

Amazing World of Fantasy 
25188 Shorter Avenue 
Rome, GA 30125 


Januan 20-22 
Mniihrielcl. Ml 
AASF\A ConFusion 
P.O. Box 8284F 
Ann Arbor. Ml 48107 


January 20-22 

The Roadway Inn 

CoraKille, IA 

Icon XIII 

Attn. Dept B 

P.O. Box 525 

Iowa City, IA 52244-0525 

Guests: Joel Rosenberg 

& Algis Budrys 


January 21-22 

Red Lion Inn 

Costa Mesa. CA 


P.O. Box 1958 

Garden Grove, CA 92644-1958." 


Januan 27-29 

Holiday Inn 

Rosemont. IL 


555 Thornhill #210 

Carol Stream, I L 60188 


Januan 27-29 
Hotel TBA 
Houston. TX 

Blake"s Several 
P.O. Box 1766 
Bellaire, TX 77401 
(713) 729-3368 



February 1-4 

Brigham Young University 

Provo, UT 

SF Svmpostum 

3163 'JKHB 

Provo, UT 84602 

Guest: David Brin 


February 3-5 
Broun Counlv Inn 
Nashville, IN 
P.O. Box 443 
Bloomington, IN 47402-0443 


February 3-5 

Stratford House 

Fenton, MO 


1 1 56 Remlev Court 

University City, MS 63130 

(314) 725-6448 


Holiday Inn Medical Center 

Birmingham, AL 


P.O. Box 550302 

Birmingham. AL 35255-0302 

Guest: Andrew Offutt 


February 1 1 

Ranch Mart Auditorium 

Overland Park. KS 


c/o Starbase Kansas Citv 

P.O. Box 8097 

Prairie Villase, KS 66208 

(816) 923-4948 

Benefits Kansas Special Olympics 


Februarv 17-20 
Hyatt Regency Hotel 
Louisville. KY 

Sercon 3 
P.O. Box 1332 
Davton, OH 45401 
Guests: James Gunn 
& Richard Powers 


February 17-19 

Holiday Inn Southeast 

Madison, \VI 

Philip Kavenly 

co SF3 

Box 1624 

Madison, Wl 53701-1624 


February 24-26 
Ramada Inn 
Jefferson Citv . MO 

P.O. Box 7242 
Columbia. MO 65215 
(314) 442-8135 


February 24-26 

Lexington Hyatt & Radisson 


Lexington, KY 


P.O. Box 979 

University Station 

Lexington, KY 40506-0025 


February 26-March 5 
Miami, FL 
Cruise Designers 

2441 North Tustin Avenue 

Suite 1 

Santa Ana, CA 92705 



March 3-5 

Oakland Airport Hyatt Hotel 

Oakland, CA 

Off Centaur Publications 

P.O. Box 424 

El Ccrrito, CA 94530 

(415) 528-3172 

Guest: Joe Haldeman 


March 3-5 

LA Airport Marriott 

Los Angeles, CA 

Dark Shadows Festival 

P.O. Box 92 

Maplewood. NJ 07040 

Guests: Jonathan Frid & members 

of Dark Shqciows cast & crew 

STARLOG's Birthday Fantasy, a 
1 5-minute 16mm color film, is avail- 
able for screening. Organizers, write 
for details: STARLOG's Birthday 
Fantasy, 475 Park Avenue South, 
NYC 10016, or (England) contact 
Pamela Barnes, c/o Fanderson, 
P.O. Box 308, London W4 IDL. 


movies include The Russians Are Coming!, 
The Golden Voyage of Sin bad, Danger: 
Diabolik and Von Richtofen and Brown. 

Louis Schimenti of Fort Wayne, IN asks: "Is 
Douglas Adams' The Hitchhiker's Guide to 
the Galaxy TV series available on 
videocassette and how may I obtain it?" The 

series is not yet out on videocassette, but 
thanks for all the fish. 

Timothy K. Armstrong of Austin, TX asks: 
"Whatever happened to David Gerrold's 
planned five-volume book series, The War 
Against the Chtorrl Also, isn't it true that, at 
one time, a film was in the works based on 
Michael Moorcock's Elric series, ostensibly 
with a soundtrack by Blue Oyster Cult? If so, 
what happened to that?" Bantam/Spectra 
Books will be publishing Gerrold's Chtorr 
saga — including the first two volumes (both 
revised, with new material added) — beginning 
in 1989. There has been no word on an Elric 

Stephanie Mellace of South Charleston, WV 
asks: "There's a movie from the early '70s in 
which Karen Black turned into a vicious can- 
nibal when an African god idol-doll 
mysteriously came to life. What's its title?" 
Karen Black starred in the 1975 TV movie 
Trilogy of Terror. It cast her in three horror 
tales, including one about a Zuni fetish doll. 

Tom Kennedy of Charlotte, NC asks: "Has 
STARLOG ever run articles on the original 
or new AirwolfTV series? Was there ever an 
episode guide published in STARLOG?" 

While no episode guide was done, 
STARLOG #81 featured a small article on 
the super-helicopter wars of TV's original 
A irwolf and Blue Thunder. 


Loony Stocking Stuffer: If you're still look- 
ing for something special for that someone 
who makes you laugh, then Buena Vista 
Software's computer adaptation of Who 
Framed Roger Rabbit might be the gift for 
you. Actually three games in one, this zany 
caper, developed by Silent Software of Glen- 
dale, CA features driving action as players 
race Benny the Cab to the Ink and Paint 
Club to retrieve Marvin Acme's missing will, 
then, taking a note from Eddie Valiant, use 
gags to shake the weasels at Acme's factory. 
A map lets players know how they're doing 
against Doom's plot to destroy Toontown. 
As an incentive, reward screens give players 
animated "prizes," presented by the likes of 
Jessica Rabbit. The game is available for 
IBM, Amiga, Commodore and Apple II 

RoboCop cleans up Saturn: In a mere two 
months, Hollywood will be buzzing in an- 
ticipation of the Academy Award nomina- 
tions, but in the meantime, hopeful nominees 
can look back at another celebration of 
achievement in August, as STARLOG 
reports the winners of the 15th Annual 
Saturn Awards. 

Maybe he promised there would be "trou- 
ble" if they didn't come along peaceably. In 
any case, RoboCop booked five Saturn 
Awards, including Best SF film, Best Direc- 
tion (Paul Verhoeven), Best Writing (Michael 
Miner, Ed Neumier), Best Makeup (Rob 
Bottin, Stephan Dupuis) and Best Special FX 
(Peter Kuran, Phil Tippett, Rob Bottin, Roc- 
co Gioffre). Other less forceful winners were 
The Princess Bride (Best Fantasy as well as 
Best Costume by Phyliss Dalton) and The 
Lost Boys (Best Horror Film). 

Acting honors went to that joker, Jack 
Nicholson (Best Actor for The Witches of 
Eastwick), Jessica Tandy (Best Actress for 
Batteries Not Included), Richard Dawson 
(Best Supporting Actor for The Running 
Man), and the late Ann Ramsey (Best Sup- 
porting Actress for Throw Momma from the 
Train). Best Performance by a Juvenile went 
to Kirk Cameron for Like Father, Like Son. 

Rounding out the ceremonies, hosted by 
Graham (Jake's Journey) Chapman 
(STARLOG #136) and Warwick (Willow) 
Davis, were the Special Recognition Awards: 
The Service Award to Frank Gueringer, 
President's Award to Mike Jittlov and 
Richard Kaye for their work on The Wizard 
of Speed and Time, the George Pal Memorial 
Award to Larry (Best Seller) Cohen, and the 
Life Career Award to Roger Corman. 

Toon In: December is the last chance for 
many cities to catch the 21st International 
Tournee of Animation, which features last 
year's Academy Award winner for Best 
Animated Short, Frederick Back's "The Man 

Who Planted Trees." It's the story of a lone 
man who turns his dreams into reality, 
transforming his portion of the world into 
paradise. And Toon lovers won't want to 
miss the portfolio of the man Who Framed 
Roger Rabbit, Richard Williams. The last 
stops will be: 

Aspen, CO 12/14 

Athens, GA 12/21 

Buffalo, NY 12/07 

Carbondale, CO 


Charlotte, NC 12/07 

Charlottesville, NC 


Chattanooga, TN 


Clearwater, FL 


Dallas, TX 12/21 

Durham, NC 12/21 

Fairbanks, AK 12/21 

Fall Brooks, CA 


Greensboro, NC 


Hanover, NH 12/14 

Hartford, CT 12/28 

Huntington, NY 


Ketchum, ID 12/14 

Kutztown, PA 12/21 

Lawrence, KS 12/21 

Livingston, MT 


Memphis, TN 12/28 

New Orleans, LA 


Northfield, NJ 12/28 

Philadelphia, PA 


Portland, OR 12/21 

Sacramento, CA 


San Mateo, CA 


Sedona, AZ 12/07 

Sewanee, TN 12/21 

Tacoma, WA 12/07 

Tampa, FL 12/21 

Vancouver, BC 


Victoria, BC 12/21 

Whitehall, PA 12/28 

Winnipeg, MAN 


Winston, NC 12/14 

Worchester, MA 


*A11 dates, unfortunately, are subject to 
change according to exhibitor availability. 

>yo U 

^n be 

. r oonfown 

be coAn es 

comp ufer 

an >mated. 

The problem, I think, is that the Klingons don't have 
enough self-help books. Where's the section at the local 
Waldenbooks or B. Dalton's, the branch on Rigel IV, 
with all those tomes devoted to self-improvement, the books 
aimed at viciously ambitious aliens? I'm talking about How to 
Kill Friends & Influence Klingons, Klingons Who Hate Humans 
& the Humans Who Love Them, I'm OK, You're a Klingon and 
of course, Sex and the Single Klingon. 

Maybe, just maybe, if the Klingons, as an amazingly warlike 
and frequently nasty race, had access to the incredibly helpful 
literature of self-improvement (not to mention diet books, Gothic 
romances and Geraldo! The Novelizatiori), they would be just as 
sensitive, civilized and humane as your average New Yorker. 

Klingons? Why did it have to be Klingons? Well, we've 
kongregated this klandestine konvention of Klingons for kicks, 
just for fun. And they are funny! For the funny, I must 
especially note the interviews with the three Johns— Battlestar 
Galactica's Colicos, Night Court's Larroquette and The Munsters 
Today's Schuck. It's not often that an editor laughs out loud 
while copy-editing articles, but I did and often. Hope you enjoy 
their Klingon komments and konflicts as much as I did. 

Randomly, on to other things, like this to-be-continued 
business. Despite the voluminous evidence to the contrary, I'm 
not inordinately fond of publishing two-part articles. Yes, I 
know, you don't have to mention all the two-parters of the past 
years (Peter Cushing, Kerwin Matthews, Jack Larson, Irwin 
Allen, Jerry Sohl, C.J. Cherryh, Lorenzo Semple Jr., Harlan 
Ellison, etc.). OK, OK, I said you didn't have to mention them. 
Well, why, you might ask, do we do this? Yes, why? 

Mostly for good reason. Usually, it's because our writers 
(Steve Swires, Mike Clark, Ed Gross, Michael Lail & Lee 
Goldberg in the instances cited above) have gotten such long, 
intensive, fascinating, thorough interviews. Space won't allow us 
to publish everything of note (except in those fifth 
dimension/alternate world editions of STARLOG, so far 
unavailable here on Earth), so we use the terrestrial powers of 
science and technology at our command to expand our finite 
space— that is, we break the article in two, stick on a "To Be 
Continued" label and publish the remainder next time. 

Believe me, despite my "flip" comments, this isn't something 
we do lightly. There are long, often vociferous debates on the 
merits of each individual case. Is anyone— including STAR- 
LOG— likely to ever interview this person in such depth again? If 
not, let's do it as completely as possible this time. How often, 
these days, does this person give interviews at all? If rarely, let's 
publish as much as possible this time. And how many books, 
movies, TV shows and other topics must be discussed? If many, 
let's give it as much space as possible this time. 

All of this explains why, after much discourse, / decided that 
Tom Weaver's exhaustive and quite candid interview with one of 
TV's Lois Lanes, Phyllis Coates, just had to be two parts. Sorry. 
But the debate does continue-^for 1989, we're discussing no less 
than three two-parters. Maybe even one by me. (Groan). 

Personally speaking, some of the most fun I had this year was 
discovering Who Framed Roger Rabbit. As part of my 
investigations, I spent several very funny hours in the company 
of Charlie Fleischer, the genius of a stand-up comic who voiced 
Roger Rabbit (as well as Benny the Cab & others). The result of 
my rendezvous with the rabbit is on display this issue but sadly, 

Kristmas Klingons at home? No, if s veteran STARLOG 
correspondent Mike Clark (who profiled Marta Kristen in issue 
#135), wife Jodi and elfin daughter Carrie Leigh. Happy holidays 
from all & to all a good night 

it isn't quite as funny in print as it was being there in person. 

(Actually, I don't know that for sure as I write these editorial 
notes because I haven't really written that article yet, it's just a 
hutch, err, hunch I have.) ((Haven't written it yet?!)) (Yes, it's 
true. But then, deadlines were created so editors who double as 
writers could miss them and scream at themselves). 

As we head toward a new year, there are a few auld long 
synes to note. You won't be seeing some long-familiar bylines in 
STARLOG very much anymore. Recently, Lee Goldberg and 
Carr D'Angelo stepped down as West Coast Correspondents, to 
be succeeded by the prolific Marc Shapiro. Likewise, Adam 
Pirani relinquishes his British Correspondent title with this issue. 

Well, frankly, I'm somewhat sorry-happy about this. They're 
all terrific writers who over our years working together have 
become close friends. And STARLOG is much poorer for their 
absence— or rather, for the sharp decrease in the frequency of 
their appearances here. Hopefully, they'll all be contributing 
articles in the future, though only very, very sporadically. 

Why? Well, Carr and Adam are at work on other writing 
projects (namely screenplays) in LA and London, respectively. 
And Lee and his collaborator Bill Rabkin (also a longtime 
STARLOG contributor, last seen here previewing The Princess 
Bride in issue #125) are at work as well— in television. They're 
the Story Editors of the new ABC adventure series starring 
George Segal, Murphy's Law. In addition to their staff duties, 
Lee and Bill will script several episodes of the show (airing 
Saturdays, 8:00 p.m., premiering December 3). Watch it! 

Coincidental^, students of TV credits will note that Murphy's 
Law is based on the Trace thrillers penned by Warren Murphy , 
(and published by NAL). The TV series producers met Murphy 
and liked the author so much that they re-named his character 
(i.e. Trace) after Murphy for TV purposes. Of course, Murphy 
also wrote and co-created the Destroyer (with Richard Sapir), a 
NAL paperback series now ghost-written by STARLOG's Will 
Murray (see Liner Notes, issue #135). And the Destroyer— as 
Remo Williams— was almost another ABC TV series starring 
Roddy McDowall which might have starred Mark Lenard instead 
(who was "up for McDowall's role"). And Mark Lenard, also a 
Klingon, is interviewed this issue, too. 

Get the feeling all of those chirping Disney kids were right? 
It's a small world, after all. 

Meanwhile, on behalf of all STARLOG's writers, editors and 
designers— Klingon and human alike— Happy Holidays. 

—David McDonnell/Editor (October 1988) 

The future in STARLOG: In upcoming" months, Martin Landau looks back on the galactic missions 
impossible of Space: 1999. . . Rex Reason voyages to This Island Earth. . .Andre Norton talks of 
writing Witchworld and the wonders of science-fiction literature. . .Harry Harrison reports on the 
(un)polished career of The Stainless Steel Rat. . . David Greenlee mouses around with Beauty & 
the Beast. . .Eric Stoltz discusses insect politics as he becomes The Fly II. 
A new year begins in STARLOG #139, on sale Thursday, January 3, 1989. 

74 STARLOG//o«utfO' 1989 

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